
Class !P_S--&40i 
Book. N 4 Kl 



ightN^ 



CDIVRIGHT DEPOSIT. 



4^ 



THE 

KREUTZER 
SONATA 



Adapted from the Yiddish 
of JACOB GORDIN by 
LANGDON MITCHELL 




J- 



/OQ 2- 



THE '^"-^ 
KREUTZER SONATA 



A PLAY IN FOUR ACTS 



Adapted from the Yiddish 

OF 

JACOB GORDIN 

BY 

LANGDON MITCHELL 



HARRISON GREY FISKE 

NEW YORK 

1907 



■LIBRARY of CONGRESS 

Two OoDlu Received 

AUG 23 \dor 

CopyncM Entry 

CLASS J> XXc. No. 

COPY Q. 






Copyright, 1907 

By Harrison Grey Fiske 

All rights reserved. 



NOTICE AND WARNING. 

ThlB play is fully protected by the Copyright Law, all requirements of which hare 
been compiled with. In its present printed form It Is dedicated to the reading public 
only, and no performance of It can be given without the permission in writing of 
Habbison Grey Fiske, 12 West Fortieth Street, New York. 



PERSONS OF THE DRAMA 



Raphael Friedlander, A Wealthy Contractor 

Rebecca Friedlander, His Wife. 

Miriam Friedlander, ] 

Celia Friedlander, f '^^'''' Daughters. 

Samuel Friedlander, Their Son. 
David, Miriam's Child. 
Ephroym Randar, A Musician. 
Bella Randar, His Wife. 
Gregor Randar, Their Son, 
Natasha,' Servant of the Friedlanders. 
John, Man of all Work. 
Katia, A Servant. 



THE KREUTZER SONATA 



Act I. ' Raphael Friedlander's House, Krements- 
chug, Russia. 

(Seven years elapse.) 

Act II, Gregor Randar's Flat, New York. 

(Seven months elapse.) 
Act III. Friedlander's Farm-House, Connecticut. 

(Eleven months elapse.) 

Act IV. Ephroym's Conservatory of Music, Houston 
Street, New York. 



NOTE.— In the Fourth Act (Page 73) occurs a brief interval which indicates 
the passage of three hours of time — from eight to eleven o'clock 
in the evening. Through the open window are heard street sounds 
typical of the crowded Jewish quarter of New York City. These 
sounds and the lights fade away, and an intermezzo, based on tbe 
andante movement of Beethoven's "Kreutzer Sonata," is played 
by the orchestra. 



ACT I. 

Scene: Drawing-room in Raphael Friedlander's house; 
Krementschug, Russia. Noon of a day in May. Doors, R. 
2 E., Back L. C, and L. 2 E. Wide window back R. C, 
through which the city is seen. Curtain rises on Celia, 
practicing a difficult etude. She sits on revolving piano 
stool, down L. After the curtain is up she continues, 
trying the same passage over and over again. As she 
begins the passage the third time enter Natasha, R. Na- 
tasha has a work basket, knitting material, etc. She 
glances at Celia, who continues practicing and does not 
see Natasha. Natasha places her things on table, down 
R., and sits at table; begins knitting or sewing, glances 
at Celia, sighs and looks up, as if wishing Celia would 
stop. Celia begins the passage all over again, and Na- 
tasha can't stand it. 

Natasha. Oh ! {Celia starts slightly; stops playing; sees 
Natasha) 

Celia. Good gracious, nania, how you made me jump ! 

Natasha. Jump? The stones in the street will jump if you 
play that any more. Why do you go over it, and over it, 
and 

Celia. {Natasha continues sewing) To acquire a bril- 
liant technique on the piano one must practice a great deal. 

Natasha. You've practised for nine years, barushnia 
Celia. 

Celia. Oh, oh ! 

Natasha. Nine years. You were nine years old when 
that fat old German professor taught you your scales. 
{Celia bus. of denying this) Nine years old, barushnia— 
and you'll be eighteen to-morrow. 

Celia. Seventeen. 

Natasha {Tranquilly) Eighteen. {Celia rises and goes 

Celia. Natasha, can you count eighteen? {Natasha gives 
her a tranquil look) You can only count to eleven ! Aha! 
{Ceha, C, curtsies mockingly to Natasha, and then makes a 
turn around the room) Eleven, and I am seventeen ! 



6 The Kreutser Sonata. 

Natasha. (Does not look at Celia at all, hut goes on 
sewing; speaks in same tranquil tone, hut now a little 
sadly) Oh, I remember the day you were born. I've not 
brought you all up for nothing, barushnia. You and 
your brother, and your sister — poor dear, she was not 
eighteen months when you came along! (Chirrups) How- 
she did cry to be taken to her mother ! ( Celia, with her back 
to Natasha, looks out of the open window, hack. She clasps 
her hands hehind her head) I had to sit and sing, and rock 
and fuss — dear, dear, poor little Miriam! (Sighs) I can 
see her now, in her little crib — such a good, reasonable, quiet 
baby ! Three children — but only Miriam is a blessing to her 
parents. (Celia turns) And see whet she suffers now ! Ah, 
boze moj ! (Natasha looks up toward door, back. Celia 
movement of impatience) 

Celia. Who suffers? Miriam? 

Natasha. Yes, yes — Miriam ! There she lies on her bed, 
half dressed and crying her eyes out. 

Celia. Oh, you make me so cross with you, Natasha ! 
Good Heavens ! Other people have troubles, too. Miriam's 
not the only girl who has had an unlucky love affair. It's 
her first ; she'll get over it. 

Natasha. (Shakes her head) Ah, my dear! 

Celia. Of course, she feels ashamed. Oh, well, Natasha, 
she must. She behaves like a fool, for she falls in love with 
an officer. A Russian, a Christian, a count — hah ! Where did 
she expect it to end? Did she dream he'd marry her? He 
couldn't — and yet, she must have, or she wouldn't have gone 
to the Bishop, and said she wanted to be converted and 
baptized. She must have thought Captain Beliusoff was a 
fool. 

Natasha. Fool? 

Celia. He would have been to marry her — to marry 
Miriam, lose his estate and his spending money. Have his 
own mother cut him on the street, and be kicked out of the 
army — oh, well, out of the officers' mess, and that's worse. 
Of course, he couldn't marry her. But why on earth he shot 
himself — that's beyond me ! (Piano. Natasha bus.) 

Natasha. (Sadly) Had he known all I know he would 
never have shot himself. 



The Krentzer Sonata. 7 

Celia. {Curiously) Had he known all you know? You 
mean 

Natasha. {Quickly, with an anxious glance, speaking 
falsely) Well — see how your sister Miriam feels 

Celia. Oh, she cries, she sobs ! (Fzowo)* What's the use 
of crying over spilt milk ? 

Natasha. Miriam's not of your sort. She has my 
character. I loved but once in my life, Barushnia, but how I 
loved, then ! 

Celia. Oh, Miriam will fall in love again, some day. 

Natasha. Miriam will have no chance! {Celia inter- 
ested) 

Celia. Why ? Why not ? What's father going to do with 
her? 

Natasha. Haven't you guessed? Well — you've heard 
who's coming to the house ? 

Celia. Gregor Randar. 

Natasha. And his father and mother. 

Celia. Do you mean to say — oh! Father's going^to make" 
Miriam marry Gregor Randar. What luck for h6r\ {Na- 
tasha looks up) Certainly, he's an artist. 

Natasha. Artist — what's that? 

Celia. A musician — he plays the violin. He's a handsome 
fellow. You should see his eyes — each one is as big as your 
fist. 

Natasha. Handsome ? Hm ! I wouldn't give the crack of 
my knuckle for a handsome man. Handsome men have no 
character. And he plays the fiddle, does he ? 

Celia. Divinely ! 

Natasha. Yes, he plays an hour, but you've got to live 
with him the whole day. {Rises) 

Celia. {Bell distantly) There they are now ! 

Natasha. Good Lord! And Miriam's not dressed! 
{Crosses as if to go back. Celia at window) 

Celia. It's not they— it's not Gregor ! It's nobody at all, 
Natasha; it's only Samuel. 

{Natasha stops up L. Celia turns. Enter Samuel, L.) 

Natasha. Oh, it's your brother ! 

Samuel. What do you think, Celia! I was sitting in 
Libert's Cafe, when— hello, Nania !— an officer came in and 
swaggered over to me, and— {Natasha looks R., as if she 



8 The Kreutser Sonata. 

heard some one. Door R. opens. Enter Rebecca) — here 
comes mother. (Rebecca enters, much dressed up for the 
occasion. She has a good deal of "side on" until Raphael 
enters. Her eyebrows are raised, superciliously. She 
smoothes out her gown, looks indifferently at every one, but 
now and again raises her shoulders and holds her waist, in 
order to catch a long breath, as her waist is too tight. She 
stops by table R.) I say, mother, I'm just telling Celia how 
an ofificer — (On the zvord "officer," Natasha gives Samuel a 

look) — came to me, and 

Rebecca. Do be qviiet, Samuel ! (Beckons Celia, who 
doesn't come. Feels her waist and catches a breath with 
difficulty) 

Samuel. Well, but I say, this officer (Natasha is 

about to exit back. She again gives Samuel a look; then she 
zvaitSj with her hand on the doorknob) 

Rebecca. Well, we've had enough of officers in this 
house ! I should think you'd have more tact — or — eh, pity 
for poor Miriam than to speak even of an officer. Celia! 
(Sam bus. as before. Rebecca beckons again. Celia crosses to 
Rebecca. Natasha quietly exits back) 

Samuel. Well, hang it all, this officer was the Colonel, 
Baron von Austensaken, and, I say, he said to me : " Are 
you Sam Friedlander ? " And when I said I was, he dropped 
a wallet into my hand. " Hold that for me ! " he said, " till 
I come back. There are seven thousand, seven hundred and 
seventy-seven roubles in it ! " And, I say, mother, it was 

stuffed full 

Celia. (Over her shoulder) Full of saw-dust ! (Samuel 
bridles, as if zvounded) 

Rebecca. It's too dreadfully tight, and I told that 

woman (Bus. seeks relief) 

Samuel. (To Celia) Oh, you're very funny! But all the 
officers of the regiment are chummy with me now — we're 
regular pals. 

Celia. Through Miriam we can become related to all the 
officers of the regiment. 

Rebecca. (To Samuel) If your father should hear you ! 
Samuel. Oh, of course, every one respects me, excepting 
father. Every day he asks me, " Well, young man, what 



The Kreutser Sonata. g 

business are you in ? " He asks me that seven hundred days 
in the year. It hurts my feelings. 

Rebecca. Why should you care, you goose ! Your father 
will take care of you. But don't speak to him of your officer 
friends. 

{Samuel shrugs his shoulders and turns to the piano, sits 
on stool and is about to play) 

Celia. {To Rebecca) Suppose he did kill himself! 
Miriam's alive — and I hope Miriam will introduce me to the 
whole mess 

Samuel. Oh, you'll get into a mess quick enough ! {Re- 
becca affects great pain at this levity. Very soft and distant 
sound of the town clock striking the hour) 

Rebecca. Oh, oh — I've cried myself into a headache over 
Miriam— it's simply— (5'/je catches a breath with extreme 
difficulty) — simply too — too ■ 

Celia. {Maliciously) Too tight ! 

{Samuel snickers. Rebeeca bridles. Celia listens as she 
hears the last strokes of the city clock striking. Re-enter 
Natasha, back; she comes in slowly — looks sadder) 

Natasha. {To Rebecca) It's" twelve o'clock. Barina, 
they— they're expected at twelve, and Miriam is not dressed 
yet. 

{Rebecca makes a movement of impatience. Raphael's 
voice off) 

Raphael. {Calling) Natasha! Natasha! 

{Natasha comes down as if about to cross) 

Samuel. If father's coming, I'm going. {Exit L.) 

Raphael. {Voice off) Natasha! 

Natasha. Coming, barin ! 

{Door, R., opens. Enter Raphael. Natasha stops above 
C. Ceha is up back. Rebecca down L. Rebecca at once 
loses her supercilious manner. She watches Raphael rather 
carefully. Celia, too, loses her levity. Raphael comes to 
table, down R. — stops) 

Raphael. {To Natasha) Have they come? {Natasha 
shakes head) Where's Miriam ? {Natasha makes a gesture 
showing she's in her room) Send her to me. {Natasha 
goes up and then pauses up back. To Rebecca and Celia) 
l^eave the room ! {Rebecca zvith feigned distress) 

Rebecca. Raphael! {Comes C. Celia crosses R. and exits. 



10 The Kreutser Sonata. 

watching her father) I am her mother ; I'm so afraid you'll 
become angry. Let me stay here, and — 

Raphael. Be so good as to go ! {Rebecca sighs heavily, 
crosses, and exits R.) {To Natasha) Send her in. 

Natasha. Barin, she's not dressed. 

Raphael. Let her come at once. {Natasha, false exit) 
Oh, Natasha, that such a thing should have happened to my 
Miriam! (He sits near table, down R.) If it had hap- 
pened to Celia, she's her mother's daughter — but Miriam — 
Miriam ! 

Natasha. I'll tell her to come in, barin. {He begins to 
break down. Exerts his self-control. Exit Natasha. Pause. 
He starts slightly as if he heard Miriam approaching. Door, 
back, is opened by Natasha, who remains off. Enter Miriam, 
back, very plainly dressed. She has a book in her hand) 

Miriam. You sent for me, father? 

Raphael. Yes, they will be here soon. {He looks round 
at her; she returns his gaze without covering her eyes) 
Hm ! Hm ! That's the dress you used to wear this time last 
May, when we walked together, in the field outside the 
town. The same dress. {Biis.) You were young, innocent, 
loving and obedient. {Rises. Moves.) The matter must be 
settled to-day ! 

{He crosses) 

Miriam. I will do whatever you command. 

Raphael. You know who I have asked to come here this 
morning, and for what purpose ? 

Miriam. No. 

Raphael. You don't know? Well, you're to marry the 
man who is coming here this morning. His name is Gregor 
Randar. He is coming with his parents. 

Miriam. Father ! 

Raphael. {Sternly) You will marry him, and after your 
wedding, you're to leave with him for America. 

Miriam. After my wedding — at once ? 

Raphael. At once. 

Miriam. Father, I shall know him so little — to go so far 
away with one who is a stranger. 

Raphael. You must ! 

Miriam. As you say, father, 

Raphael. So — after your wedding — ^you'll disappear— to 



The Kreutser Sonata. 11 

— America. {Short pause — hiis.) Do you know how neces- 
sary it is for me — yes — necessary — that you should go away ? 
I'll tell you, then. Here in Krementschug all people know is 
that for the sake of a soldier you were ready to become an 
apostate. The worst of all they don't know. But yet look 
what's happening — already. Here Melech Homsche-tells me 
he will not pay me the thousand roubles he owes me, because 
my daughter has abandoned her faith ! And Baruch, the 
same; and Viener, Ezra Viener, only yesterday, he, too, told 
me. But you can't understand — ^you pretend to. Here am I 
tied up with a number of contracts — <iependent on the good 
will of others — my name, my credit — and then, you — ^you— 
and yet the worst of all is not known ! Not even your 
mother nor Celia knows. Natasha and I — It will be better 
;for you, too, in America — before things are discovered. It 
would never be forgotten here. In America no one need ever 
know. You don't need to tell them there the true date of 
your wedding — they won't look you over — (Bus.) — Oh ! who 
■could have dreamed — you wanton ! (Raises his hand) 

Miriam. I know how hard it is for you. Kill me, if you 
wish — it's all the same to me. 

Raphael. (Calmer) Well, the business of it is this: this 
Gregor Randar, he knows very well it's not of choice that I 
marry my daughter into his stock, and to him, a common 
music monger. You need tell him nothing. I shall explain 
to him and to his father. Have no fear; he shall know all. 
As for your dowry — in my letter I told him twenty thousand 
— but that's too much. (He sits down, R., fatigue — sullen 
anger) Why do you stare at me? 

Miriam. Don't be angry, father, but I think he may per- 
liaps be kinder to me — if you would reduce down my dowry. 

Raphael. (Speaks quietly but bitterly) I know what 
you're worth ! 

Miriam. (Bus. Pause.) As you think best. 

(Raphael is sitting down, R. Miriam is down, L. Pause, 
bus.) 

Raphael. Why do you stand? Sit down ! (Miriam sits 
down,L. Bus.) What is that book ? 

Miriam. Tolstoi! (Raphael bus.) It's the story of— 
{Raphael bus.) I am not telling you a lie, father. 



12 The Kreutzer Sonata. 

Raphael, Just see what a state of nerves you've got into. 
What is the story ? 

Miriam. It's called " The Kreutzer Sonata." It makes 
life seem very unhappy — even more unhappy than I feel it 
to be. {Raphael makes a movement of contempt) 

Raphael. Tolstoi ! Let me see the book ! {Miriam rises 
slowly. As she rises she sees the door, R.j open, and she does 
not cross. Enter Celia, R. She looks in curiously at zvhat is 
taking place. Raphael follows Miriam's glance, turns, and 
sees Celia. Celia comes C. To Celia) Well, Celia? 

Celia. I — I — think they're coming, and I want to look 
out of the window. {Celia moves as if to go up) 

Raphael. Here, here! Give me that book! {Celia goes 
to Miriam, who remains standing by piano, down L. Miriam 
gives Celia the book. Celia crosses to R., and as she does, 
reads the title of the book. Raphael takes book) What is 
this Kreutzer Sonata — a novel? {To Celia) I thought a 
sonata was played. 

Celia. Father, the great composer Beethoven wrote a 
sonata for violin and piano, and dedicated it to Kreutzer, the 
musician. 

Raphael. Well, why is this story called " The Kreutzer 
Sonata " ? 

Celia. Because Count Tolstoi tells the story of a woman 
who falls in love with a musician. {Celia gives Miriam 
a malicious glance) That is, they both fall in love while 
they're playing the sonata. {She smiles. Speaks more ma- 
liciously. Raphael lays the book on table, R.) And then her 
husband sees they're in love — {Gaily) — and he kills her! 

{Raphael rises and comes down below C. Celia takes up 
the book. Miriam sees her do so, and comes dozvn below C.) 

Raphael. He kills her ? I should have killed him ! 

{Celia casually looks into book; speaks with the utmost 
lightness of insincerity) 

Celia. I'd have cut them both to pieces. I should have 
,been horribly jealous. 

{Miriam lays her hand on Raphael's arm) 
• Raphael. (Smiles) And you, Miriam ? 

Miriam. {Aside to Raphael) Please take the book from 
her. His last letter and his photograph are in the book.. 
Celia mustn't see them. 



The Kreutzer Sonata. 13 

Celia. Miriam? She'd have done nothing! How could 
Miriam be jealous? 

{Bell is heard distantly. Celia goes up quickly to window; 
looks out) 

Raphael. (To Miriam) Go dress yourself. 

(Miriam moves as if to go back at once; stops and turns 
to Raphael) 

Miriam. Father — will you ever forgive me ? 
(Raphael looks at her sternly) 

Raphael. Go, go ! 

(Miriam goes up slowly. Exits slozvly back — pause for 
this) 

Celia. Here he is ! No, yes — no, it's only his father and 
mother. (Celia comes down R. of C. Raphael is below 
table) 

Raphael. Here — run off, you ! Take the book with you. 
(Celia pouts with disappointment ) 

Celia. I will see him! (Places book on table R.) 

(Raphael waves her to the door, R. More sternly. Door 
opens L. Enter Natasha. Celia quickly exit, R.) 

Natasha. Come in, please. (Natasha faces door) The 
master is here. (Enter, L., Ephroym and Bella — in holiday 
attire) Come in ! Come in ! (Short pause) 

(They stand. Natasha shuts the door; stands at door and 
observes them. Ephroym keeps his hat on) 

Raphael. Please be seated. (They remain standing) 
Natasha, call the barina. Something to eat and drink here. 
(Natasha observes the couple) 

Natasha. (Apart) A fine team of oxen ! (Exit L.) 

Ephroym. Well, sir, this is a festive occasion, eh? You 
wrote me to bring myself around— (To Beilo)— Eh.} She 
wants you to know I brought her, too. (Bella nudges him to 
behave with more propriety. To Beila) Veil, I'll introduce 
us all ! Sir, let me introduce the head of our humble family 
— (Bozvs) — and my humble family herself. 

Raphael. You are Gregor's father, I suppose ? 

Ephroym. Yes, Ephroygi Randar— yes, yes, Ephroym 
Randar 

Raphael. (Bus. cigarettes; offers) Will you smoke ? No ? 
(Raphael lights cigarette) I know you only by sight. 

Ephroym. (Easy and sits) Who in Krementschug or in 



14 The Kreutzer Sonata. 

Krakov don't know Ephroym de Bandmaster — by sight, or 
by hearing ? I always kept a band. 

Bella. You mean de band always kept you. 

Ephroym. At de richest weddings and dances in Kre- 
mentschug and Krakov, even in Polstava, too, me and my 
band ! At de Russian Teeayter, during de contra-acts — my 
band ! ( Wipes his nose with his hand. Bella stands up 
behind Ephroym.) 

Bella. {Aside to Ephroym) Use de handkerchief ! Now 
talk to him about Gregor ! {With a curtsy to Raphael) Our 
son will be here soon— he is goming in a garriage. 

Ephroym. He was ashamed to come vid us. Too proud to 
be his fader's son. Vid him it is Pizzicate, Flagelleto, but me 
and she is very plain peoples ! {Ephroym and Bella bus.) 

{Enter, L., Natasha and a servant with a tray of refresh- 
ments. Natasha shuts door. Servant crosses to table, down 
R. Natasha crosses same. Raphael rises. Servant places 
tray) 

Raphael. {To Ephroym) Perhaps you would like a little 
something? {Raphael pours out wine. Natasha whispers to 
servant; Indicates door, R. Servant crosses R. Exit servant, 
R. Natasha picks up book, opens it, sees letter and photo- 
graph; frowns, glances at Raphael; shuts book, and takes it 
with her; she goes up R. as enter Rebecca, R. Natasha re- 
mains up R.) 

Ephroym. I don't hate a little something. {Ephroym 
rises, takes off his hat. Raphael waves his hand toward 
Ephroym and Bella, as much as to say, " There they are ! " 
Rebecca Inclines her head. Ephroym nods) 

Rebecca. I am delighted. 

Ephroym. Ephroym, Bandmaster, of de family Randar ! 

Raphael. {To Ephroym and Bella) Come on, come on ! 

Rebecca. Your son 

Ephroym. He is coming. Well, well, well ! 

Raphael. Sit down. {To Bella) Sit down here. Drink. 
Make merry. Rebecca ! 

Ephroym. Well, here's good luck to the matrimony ! Eh 
_ — I spilt a leetle ! {Rubs his foot over It) Looks like blood 
on de floor. May God help us all ! {Drinks. All are seated 
about table) Hm ! Well — do you know, sir, once on a time, 
I had a real, genuine orchestra ! Second fiddles, two ! first 



The Kreutser Sonata. 15 

fiddle I played myself ; one trombone, one flute ; a kettle drum 

and vould you believe it, dere vass a Gentile in my band — 

he played de clarinet. His name vass Ferafenkin, Vot a 
drunkard he vass ! His nose had alvays de measles— yet he 
could talk Yiddish better den a rabbi ! 

Beila. May you get de measles for talking so much ! 
Ephroym. My madam is always afraid I will say some- 
ting dat wouldn't be nice in a house like dis ! But, never mind 
her; she means well. (Bus.) So, here's to our two young 
peoples! Wid God's help, we will be relatives! (Drinks. 
Natasha bus. of offering Beila a glass) Ah— dat gives a 
ticklement by de insides ! 

Rebecca. (To Natasha) Natasha, you're not wanted 
here ! (Natasha about to go) 

Raphael. Eh? What? Natasha? Come here, Natasha! 
(Raphael tills a glass and gives it to Natasha. Natasha is 
much embarrassed) Miriam is as dear to you as she is to us. 
You must drink her health ! 

Rebecca. (To Beila) She is our nurse; she has been in 
our house twenty-five years. 

Beila. Some servants are pretty good. 
Natasha. (Curtsies to Raphael) Barin, your health and 
our Miriam's happiness ! (Natasha drinks and exits, L., with 
glass in her hand) 

Ephroym. And where is de young lady, eh ? 
Beila. Don't talk so much ! 

(Bell rings) 
Ephroym. Dis is our son ! 

(Raphael rises. Rebecca rises. They go up above C, and 
Raphael speaks dumb to Rebecca. Ephroym drinks quickly, 
and puts some of the cakes in his pocket) 
Beila. What are you doing? 

Ephroym. For de children. (Door opens, L. Natasha 
enters and holds door open. Enter Gregor, dressed in the 
height of fashion — Krementschug fashion. Gregor takes his 
hat off with easy dash, and looks from Raphael to Rebecca. 
Bows very low to Rebecca and smiles confidently) Ah, dat is 
our son ! Hah ! 

Gregor. (To Raphael) You must pardon me for being 
so unpunctual. 



16 The Kreutser Sonata. 

Raphael. (Takes out his zvatch) A half hour — nothing 
serious. 

Gregor. Hm ! I see the old people are here before me. 
(Aside to Raphael) You can see, without my telling you, 
Monsieur Friedlander, that — aha — I don't spring from the 
aristocracy. But, on my soul, it's not my fault — it isn't, I 
assure you ! 

Raphael. What has aristocracy got to do with (Ges- 

■ture indicating the house) Sit down. (Bus.) Do you 
smoke ? 

Gregor. (Sits^ lolls back in chair) Thanks, no — 1 neither 
smoke nor drink. 

Beila. (Aside to Ephroym) De liar ! 

Ephroym. Well, I say, a good musician plays all the bet- 
ter for good liquor ! (Ephroym sips his glass. Raphael is 
about to speak) Ah, if I had my fiddle here now I vould 
strike up a tune.- (Gregor, Beila and Raphael all glare at 
him) Veil, anyway, let's have a little more of dis red mois- 
'ture. It warms you up on de inside like de sweet melodies of 
a big drum. 

Beila. (To Ephroym) Shut up, already! 

Raphael. (To Gregor) Well, Herr Randar, I have asked 
you and your family to come here to-day. 

(Enter Celia R. excitedly. Raphael frowns at interruption. 
Gregor glances at Celia and instantly rises. He watches her 
narrowly. As she moves his eyes follow, not her face, but 
the motions of her body) 

Celia. Excuse me, father, I — eh — I forgot — 

Raphael. What is it? 

Celia. (Looking at Gregor) I forgot " The Kreutzer 
Sonata." 

Raphael. (Looks on table) It's gone. 

Gregor. (Bows to Celia) Mademoiselle Celia, I hear you 
play charmingly. Have you ever tried the " Kreutzer 
Sonata"? 

Celia. Oh, it's the book I'm looking for. The sonata 
must be terrible difficult. (Gregor and Celia bus. Raphael 
frozvns angrily) 

Gregor. Practice the first part, and we'll play it together. 

Raphael. Run away, Celia ! 

Celia. (Still gazing at Gregor) Yes, father. (To 



The Kreutzer Sonata. 17 

Gregor) I'd love to ! (Celia turns and exits, R., with a co- 
quettish glance at Gregor as she opens the door. Raphael 
gestures to Celia to go quickly) 

Raphael. Suppose we get down to the matter in hand. 

Ephroym. Suppose we get a leetle more of the bottle in 
hand. 

Raphael. {Impatiently) You have heard that my daugh- 
ter wished to become a convert to Christianity? 

Ephroym. {Sips) Suppose she did want? Everybody 
of flesh and blood wants ! 

Raphael. {More impatiently) Rebecca, I wish to be 
left alone with the young man. Take these good people* 
into the dining-room. {Rebecca rises. Beila rises. To 
Ephroym) Will you be good enough — {Ephroym sips; pays 
no attention) — eh — you! What is your name? 

Ephroym. My name ? Hah ! He has been talking to me 
all this time and doesn't yet know my name. 

Rebecca. Do come ! {Beila gently pinches Ephroym) ■ 

Ephroym. Au veh ! 

Beila. The lady asks you 

Ephroym. {Rises. To Beila) Haven't I behaved nice? 
, Rebecca. {To Beila at door, R.) I'll show you all my 
table linen. {Ephroym follows Beila, biit glances back at 
table with wine glasses on it) 

Ephroym. {Stops at door, R.) Gregor, she thinks I be- 
have bad ! 

{Exit Rebecca, followed by Beila and Ephroym, R. 
Raphael is still standing above C. Gregor is down, L. 
Gregor crosses R. and sits near table. Raphael comes down, 
watches Gregor keenly) 

Raphael. I am told you wish to go to America ? « .; 

Gregor. {Easily) Ah, yes ! America. That's the place 
for me! {Lolls) Why, my dear sir, an artist such as I am • 
could have a career in New York — a meteoric career ! Yes, 
my ambition is to get to New York — that is, if that doesn't 
conflict with your-^ 

Raphael. {Interrupts) On the contrary. {Raphael sits 
L.) Are you willing to marry my daughter? 

Gregor. What a question! Such a family — everything, 
refinement, education. As to what's happened — of course.' 
one hears rumors— she fell in love, and, of course, she wanted 



18 The Kreutcer Sonata. 

to become a Christian. (He Ms a glass for himself) That's 
all as things go in the world. I only hope I may please her. 

Raphael. What pleases me, pleases my daughter. After 
the wedding I will give you ten thousand roubles. 

Gregor. Thank you ! To be candid, ten thousand roubles 
is not at all bad. 

Raphael. I promised her twenty thousand. 

Gregor. Oh, so you want to cut me down ten thousand 
because you're displeased with her ? 

Raphael. That is what Miriam thinks. Three years after 
the wedding you shall have the second ten thousand, with 
interest — you understand? Friedlander's word is as good as 
an Imperial Bond. Of course, that second ten thousand is 
yours only if things go as I wish. You must live respectably. 
She must have no cause for complaint 

Gregor. Why should she ? 

Raphael. You must be kind to her. 

Gregor. Of course, kind — why not? Are you hiding 

something from me? Is she ? Eh? Of course, I've not 

yet even seen your daughter, but as to the circumstances 

Raphael. You know them. 

Gregor. They might be a thousand times worse than they 
are. What do I care? 

Raphael. You mean that? You pledge me your word you 
will be kind to her ? 

Gregor. My word of honor as man (Bus.) and artist. 
(Gives Raphael his hand) 

Raphael. Listen, young man. You don't know me. You 
don't know what Friedlander's capable of domg — If she is 
happy with you, if you help her to forget all this suffering 
and — She's in agony over it — day and night, crying her 
heart out. Such suffering ! It isn't that I wish to excuse her 
— but, young man, no one knows how dear that child is to me ! 
(Tears) My Miriam! (Turns away; is silent; controls 
himself) Confound my tears! I say, if she's happy with 
you, not only the ten thousand, but my life, my fortune shall 
be yours ! Oh, you'll not be there long without me. As 
soon as I can liquidate, arrange my affairs — my obligations — 
I shall join you. (With tears) What, did you think I could 
live without Miriam ! I, here alone — without her ! (He 
hears a sotmd off and lowers his voice) Hush! Hush! Not 



The Kreutzer Sonata. 19 

a word of — (Wipes his eyes, tremblingly, in haste) — of this 
— to her. Yfes, I heard her speak. {In almost a whisper) I 
say, if she's happy with you I'll make you happy. Happy ! 
I swear it, I will ! {Raphael goes up quickly; calls sternly 
through door, hack) Miriam! Miriam! {To Gregor) 
She's coming. {Raphael, gesture of anger) 

Gregor. Monsieur Friedlander, now — eh — lay aside your 
anger. That's my advice. 

Raphael. Young man, never advise me. Here she is. 
{Raphael makes an effort at self-control. Gregor moves up R. 
Miriam enters, very pale, dressed handsomely ; comes down 
L. Gregor goes up R.) Everything is arranged. {Short 
pause) You need tell him no tales. {Short pause) I am an 
old business man, and do things in a business way. {Bitterly) 
Every purchaser must know what he is buying. You're to 
"jnarry, and leave here at once for America — out of my sight ! 
Why are you crying? If things don't suit — cable me — you 
can have a divorce. A daughter who's a divorced woman — 
that's no misfortune. But it is a misfortune to have a — to 
have a daughter who — who's not fit to remain in Friedlander's 
house. Hsh ! I'll leave you with him. 

Exit Raphael, R. Miriam is down, L. Gregor up, R. 
Gregor comes down C.) 

Gregor. Fraulein, we are strangers to each other. You 
know me only by name — but at least you know I am an 
artist ; and presently I'll play for you. When I do — when you 
hear my " tone " your heart will warm for me — you'll under- 
stand my heart — and you'll love the man for the sake of the 
artist. Are you listening, Fraulein ? 

Miriam. So, you have decided to take me? 

Gregor. If I may have the happiness and the honor. 

Miriam. Honor and happiness! No, I will not deceive 
you. Before you agree to take me I wish you to know 
everything. I wished to be baptized. 

Gregor. Oh, well, I'd be baptized quick enough, if after 
the sprinkling they'd admit me to the Imperial Orchestra in 
St. Petersburg. 

Miriam. I have loved. 

Gregor. Ha, ha ! Who of us has not had his little 
romance? Why, my dear Fraulein, I couldn't count how 
many times I have loved ! 



20 The Kreutser Sonata: 

Miriam. I have loved only once in my life. I loved a 
Christian ; an officer. I don't want to lie to you, or in any 
way deceive you. I gave him my heart and my soul. His 
parents would not permit him to marry a Jewess — not even 
when I agreed to accept baptism. He honored his father 
and mother ; he felt he couldn't marry without their blessing. 
But neither could he leave me. He didn't know which way to 
turn. He loved me truly. He shot himself. 
' (Turns away and weeps) 

Gregor. My dear Fraulein, why do you tell me all this? 
You can't suppose I didn't hear that Captain Beliusoff shot 
himself? 

1 Miriam. Yes, he shot himself. He is dead; but beneath 
my wounded heart lives his child. (Gregor is now R. of C. 
Miriam is C.) 

Gregor. A child ! Upon my soul, that is news ! (Pause,) 
And every one of your family knows — 

Miriam. No, no — only my father and Natasha knov.- 
anything at all of the real truth — I mean they know. No 
one but they — not even my mother ! You see, my father and 
Natasha are — are everything to me. They love me, and, I, — 
well, my father — he doesn't know, he doesn't guess,' he 
doesn't dream how much, how dearly, I love him. A kind 
word from him is happiness, and his pain — oh, his pain, when 
I see it, it breaks my heart! Oh, what I tell you is the 
truth. And now. my father wishes me to marry you, and 
sail with you across the ocean. I do it only because he wishes 
me to. Indeed, I am telling you the truth, But, if now that 
you know all, you — you don't despise me, or spurn me — I 
know what a girl who has done — who — who — I mean I know 
I deserve to be held in contempt, but if you can, if you will 
have a little compassion — I mean pity — I promise you, from 
now on, I will be your loyal and devoted servant. And per- 
haps after a long while you'll forget how I sinned against 
you, before we met — and — you'll forgive me, I hope. And if 
I do everything, if I am obedient, loyal, serviceable — if I 
try, if I do make you happy, promise me you will be kind to 
my father, won't you? (Bus.) You'll give my child your 
name? (Bus.) Yes — ^yes? Thank you! Now you know 
everything there is to know. Do as you think best. 



The Kreutzer Sonata. 21 

{Miriam zveeps. Gregor remains lost in thought. Door, 
back, opens) 

Natasha. (In a whisper) Miriam, Miriam, my little 
dove ! 

Miriam. Come in, Natasha. It's all over now. 

Natasha. Oh, my poor child ! Does he know everything? 
It's better so ! Hsh ! Here's your father. 

(Raphael enters, R. Gregor rouses himself) 

Raphael. (To Gregor) Well? 

Gregor. Well, we've talked the business — everything — 
over. (Pause. Looks at Raphael) The Fraulein has made 
it all clear enough. I'm posted. You may congratulate us. 

Raphael. (To Gregor) I am glad to hear it. I forgot 
to tell you — I shall give to you a thousand roubles for ex- 
penses — to you, not to her. To her I give no gifts; she de- 
serves none. Natasha, tell them to come in ! (Enter Celia, 
R., as Natasha crosses R.) Celia, congratulate your sister. 
(Celia kisses Miriam. Enter Samuel. Celia crosses to 
Gregor and grasps his hand warmly. They speak together) 

Samuel. Ah, Herr Randar, the artist! (Comes C.) I 
have the honor to congratulate. I have often heard you 
play at the Imperial Guards' Club. 

Gregor. I — I play at the Imperial Guards' Club ? 

Samuel. I meant to say — eh — eh — the Yiddish-Galician 
Club. You played beautifully. Didn't you bring your violin? 
Too bad ! It's a Stradivarius, I suppose. Well, I have a 
friend who has an old Italian 'cello — cost him seventeen 
thousand roubles — 

Raphael. Samuel, come here — stop ! 

(Gregor and Celia speak together in dumb show. Enter 
Rebecca, Bella and Ephroym. Natasha shuts door, R., and 
goes up. Rebecca comes down, R. Ephroym and Beila go 
to C.) 

Ephroym. (As he enters) So, den — de veding is to 
be — eh ? 

Beila. Oh, I am so glad ! 

Ephroym. (To Miriam) My dear, I wish you welcome. 
J hope you will be happier than enough. My blessing! (To 
Beila) What a fine daughter-in-law! I wish I vass his 
fader's son! (To Raphael) What is dat old saying— -" De 
meanest dog always gets de best bite " ? 



22 The Kreutser Sonata. 

Beila. (Softly) Vait! I vill give you a bite dat vill 
choke you ven you get home ! 

(Bella embraces Miriam. Ephroym, Beila, Raphael, Sam- 
uel together. Rebecca embraces Miriam. Beila and Rebecca 
congratulate each other. Miriam is now left standing alone. 
Natasha comes down R. Miriam crosses to Natasha and bus. 
Celia and Gregor bus.) 

Ephroym. Au veh ! 

Beila. It makes me remember when I vas a young maiden. 

Ephroym. Veil, shall we indulge ourselves with a leetle of 
de juice, eh? 

Raphael. Yes, yes ! (Drinks, etc.) 

Ephroym. Ah, now we are all happier than a sweet 
melody ! 

Beila. (To Rebecca) They will be happy. 

Celia. (To Gregor) Well, let's try it now. Why not? 

Gregor. Why not? I can feel you're an artist, my dear t- 
Your hands are the hands of a virtuoso — and I read music in 
your eyes ! 

Celia. Oh, that's impossible ! 

(They play. He strikes a few chords and then stops tO' 
place her hands. Miriam and Natasha are down, R. Miriam- 
sits in arm chair, draws Natasha to her so as to conceal her- 
self from the others) 

Miriam. Nania, I want to cry, but softly, softly, so father 
shan't hear me. (Bus.) Oh, I can't control myself. I'm 
afraid I shall cry out loud. 

Natasha. Hush ! Hush ! Be strong, my baby, my little 
dove, my lamb ! 

(Falls on her breast and cries softly) 

Miriam. Oh, nania, nania, nania ! 

CURTAIN. 



ACT II. 

Scene: Gregor Randar's Hat, on the upper East Side {near 
Seventy-second Street), New York. A parlor, with arch 
and adjoining room at hack. Doors, R., L. and R. C. 
Door from ante-room leads to public hallway. ,Piano, 
chairs, sofa, etc. Seven years have elapsed. It is early 
in June. Forenoon. 

Curtain on Samuel entering; leaves door open behind him. 
Sam is dressed as a young dude of the East Side. Keeps 
hat on. Looks about for some one. 

Samuel. (Calls) Hello, Gregor ! Gregor! (Listens at 
door, L. Violin is heard off L., faintly; scales being prac- 
tised. Turns, speaks off) Come on up, Celia ! No one 
here — not a soul. Gregor's got a pupil in his music-room. 
(Enter Celia, back; carries stnall hand hag. Very American 
costume. Black stockings, low shoes, rakish hat. Over- 
dressed; except for that, in good taste. Gloves too loud. 
Older in manner. Anxious, hut not too much so, as she 
enters) 

Celia. Where's Gregor? (Samuel, gesture with his 
thumb over his shoulder) Are you sure father isn't with 
Miriam? (Indicates off R.) Is Miriam in? 

Samuel. How do I know? I suppose Miriam's in. And 
what's the matter with your meeting father ? What are you 
afraid of? (He lolls. Celia puts hand-hag down on floor, 
up R.; comes dozvn. Bus. gloves) 

Celia. Well, if you want to know, I've come to the city 
to stay. (Sits R.) 

Samuel. (Opens his mouth with astonishment) Eh? 
You've left father, and mother, and Natasha, and the farm? 

Celia. For good. 

Samuel. What'll father do, and say? 

Celia. Why, he'll storm and swear, and talk about King 
David and the Psalms, and children obey your parents. 

Samuel. You ought to stay. 

Celia.. Did you ? (Celia sits, R. Crosses one leg over the 
other; takes off her hat) You didn't stay one year down on 



24 , The Kreutzer Sonata. 

the farm; and I've been there ever since we got to America, 
four years ago. For four years I've been dying down there — 
no music, no theatre, no people. I'm going to live a little now. 
See if I don't. 

Samuel. Is father coming up ? 

Celia. He took the early train. I think he's been here 
and gone. But he may have left Natasha here. 

Samuel. How's mother? 

Celia. Just as sick of it as I am. 

Samuel. The trouble with you is you're looking for trou- 
ble, and trouble doesn't grow in the country — it grows on the 
East Side. {Celia bus. of impatience) 

{Distant violin at intervals throughout scene) 

Celia. Oh, it's all very well for you. But I'm a girl — I 
don't last forever. In a few years I'll be old, and then it'll be 
too late. Men won't look at me. 

Samuel. You've got a lover. 

Celia. Suppose I have ? 

Samuel. Where are you going to live? 

Celia. Here. 

Samuel. Oho ! {Bus. He looks at her knowingly) 

Celia. Well, what of it? {Bell outside) There's the 
door bell. 

Samtiel. I'll bet it's father. {Celia looks out of door, 
hack, shakes her head) 

Celia. It's those two old greenhorns, 

Samtiel. Ephroym and his wife ? 

{Celia nods assent) 

Celia. I wouldn't be seen dead on the street with that 
pair. They've been over here three months — {Voices off 
R.) — Three! And she wears the same things she did in 
Krementschug ! 

{Door, R., opens. Celia plays a run on the piano. Enter 
Ephroym and Beila. They come in with smiles, freshly, good- 
.humoredly) 

Ephroym-. {To Beila and then to Sam) I pressed a 
leetle button, and the front door opened solemnly of himself ! 
£h, what ? I tell you, America is beyond Jordan. 

Bella. Well, here we are ! ( Celia shakes hands with 
Beila coolly; Samuel cordially with Ephroym. To Celia) 
How are you ? 



The Kreiitzer Sonata. 25 

Ephroym. {To Samuel) How's de old people on de 
farm ? 

Samuel. {Very self-important) Don't ask me ! I've told 
father that he ought to leave that old pumpkin of a place in 
the country. {Ephroym nods assent) I tell you, these old 
men, they come here from Russia and they think they know 
it all. They think it's all the same here as there. They think- 
that in America the sons respect the fathers. They think a 
policeman's a Cossack. I'm no foreigner. I'm a born Ameri- 
can. I don't respect anybody. If anybody thinks he's my 
equal I'll show him he ain't. 

Ephroym. Oi ! You have certainly hatched out of de tgg ! 

Samuel. You think you're awful funny, but let me tell 
you, old man, in America the hens lay eggs by machinery — 
seven and a half eggs a minute. 

Ephroym. {To Beila) Beila, ve have an awful pile to 
.learn ! 

Samuel. What you want to learn is the American com- 
mandments : First, fathers, respect your sons. And the sec- 
ond one is, everybody do what he pleases. {Celia bus. of 
pleasure in this commandment. Beila looks serious and 
puzded; Ephroym ironic) And the third is, whatever you 
learned in Russia ain't so. 

Ephroym. And de fourth is, de young fellars talk de 
old ones to death. 

Beila. Would you belief it, we have been three months 
in America, and this is the third time I have been in my 
son's house. {Looks about; so does Ephroym) 

Ephroym. We was never in this room before, Beila. 

Celia. The professor keeps this room for himself. 

Ephroym. Beila, our son is a professor ! {Listens, L., 
distant piano) He may be professor, but if dat is him play- 
ing, God pity de pupil. 

Beila. Vat vunderful luxus. I never dreamed — but vy 
don't Miriam come ? And ver is de leetle boy ? 

Ephroym. Ah, ver is my grandson? Eh? {Samuel 
crosses R.) He is prouder looking dan ever. He surprised 
me when I saw him. 

Samuel {Calls out door, R.) Come along, David. Tell 
Miriam we're here. Come on ! 

{Enter David, R.) 

Beila. Ah ! 



26 The Kreutaer Sonata. 

Ephroym. Aha! {Kiss, etc.) Miriam dresses him too 
plain. {David shakes his head and lays his finger on his 
.lips) 

David. No, no ! If father hears me romping with you 
he'll come in and whip me. 

Samuel. Oh, no ! 

David. Yes, he will — after you're gone. 

{Beila and Ephroym bus. Violin stops oif L., and voices 
oif L. Celia plays an air, forte, and looks over her shoidder, 
L., watching for Gregor. Enter Gregor with girl pupil. He 
wears a velvet jacket, smokes a cigar. He accompanies pupil 
to door hack, saying: "Good-day. Be sure you practice." 
Pupil exits. Pause. He takes every one in cooly, closes door 
and comes C. slowly) 

Gregor. {To Ephroym and Beila) So you are all here. 
ff thought I smelled greenhorns around. {To David sharply) 
'I see who has been muttering in here ! It's time for your 
music lesson, mister. {David shrinks. Gregor, gesture for 
David to go into room, R. Beila takes him by the hand) 

Ephroym. {To Gregor) Look here, Gregor, der must 
be an end to this business of my seeking you. It cost ten 
cents up and ten cents down. 

Gregor. Later. Later. I wish you'd both clear out. If 
some of my pupils happen in they'd take you for a pair of 
beggars. {Celia remains seated before piano) 

Ephroym. For beggars ? Himmel ! Der is no beggar in 
New York dat is such a fool as to try to beg from you. 

{Gregor looks at Celia, Celia at Gregor, as if they had 
mutual communications to make, but Ephroym stands be- 
tzveen them) 

Beila. And, by der way, Gregor, vy is it dat ve always 
<come here de wrong way? De station is in Seventy-six 
Street — ve vant Seventy-second Street. Instead of valking 
down we always seem to valk up. 

Ephroym. How should I know vitch is up and vitch is 
down in New York where everything is flat? If I vas on a 
hill I could climb up or fall down, but vitch is up, and vitch 
is down here on a flat ? Ven ve got lost I asked a policeman : 
" Vere is Seventy-toot Street ? " And he said, "Ah, you poor 
ignorant dago, it's not Seventy-toot, it's Seventy-second," so 
I understood dat " second " is like de musician's secundo. Ve 
must say " Secundo, terto Street." 



The Kreutzer Sonata. 27 

Gregor. (Crosses, aside to Celia) So you have come? 
Celia. Yes. 

Gregor. I must see you alone sometime. 
Celia. Why not now ? 

Gregor. Because Miriam's due with my cup of choco- 
late. (Turns and goes C. To Ephroym and Beila, who are 
occupied zvith David) If you people want to see Miriam, 
you'll find her in there. 

Ephroym. (Aside to Samuel) Go tell Miriam we want 
to see her. (Exit Samuel R.) Beila and David bus. together. 
David leads her by the hand and shows her bric-a-brac. 
Ephroym shakes his head sadly as he looks at Gregor. 
Gregor crosses, stands beside Celia. Ephroym, aside to Beila, 
while David pulls at her hand) Dis America is a strange 
state of affairs. De sons and daughters here are der own 
fadders and modders, and dey are also de fadders and modders 
of der own fadders and modders ! 

(Beila yields to David and moves toward back. Ephroym 
same) 

Gregor. (Aside to Celia) When you're not here, you 
little torment, I'm sour and cross, and all I care for is to get 
out — get away. 

Celia. And when I am here I don't believe you feel a bit 
different. 

Gregor. (Catches her arm) Feel? I feel like talking, 
and laughing, and playing; I feel life is worth something, you 
'.little torment, you ! 

Celia. Don't do that ! They'll see you. 
Gregor. When you're not here I sit and dream about 
you. 

Celia. (Makes a face at him) Nonsense! (Gregor 
bus. ) 

Gregor. When are you going back to the farm ? 
Celia. I'm not going at all. 
Gregor. What? 
Celia. Never again. 

Gregor. You darling! We must be alone to-day, some- 
time. 

Celia. Don't ! Don't ! They'll see you. 

(Re-enter Samuel, R.) 
Gregor. (Sarcastically) Well, it's time for me to give 
ithe young aristocrat his music lesson. 



28 The Kreutser Sonata. 

(David shrinks. Gregor crosses L. Enter Miriam with 
chocolate on tray. David crosses to her) 

David. Oh, mother ! Here's grandfather. 

{Miriam smiles at David. Sees Ephroym and Beila, hut 
crosses L. without stopping to welcome them. Places choco- 
late on table J L.) 

Miriam. Here is your chocolate, Herr Professor. 

Ephroym. (To Beila) Herr Professor ! Do you hear? 
Not like you call your husband — musical pig! 

David. Everybody calls papa professor. 

(Gregor bus. with chocolate. Miriam crosses to C., 
greets Ephroym and Beila cordially. Celia comes slowly 
down, L., bus. of Celia to Gregor from here) 

Miriam. How good it is to see you ! You haven't been 
here for ever so long. (In a lower voice) And you know I 
can't get away. There are such thousands of things to do. 
Why don't you sit down. How's father, Celia? (Celia, 
gesture. Miriam smiles at Samuel, who has David on his 
lap. To Beila) And. now tell me all about your new home. 
I have so wanted to come and see you. 

Ephroym. (Aside to Miriam) But he would not let 
you, eh ? 

Miriam. (Shakes her head) Tell me all about your 
home. 

Ephroym. It is nodding but a bird's nest in a tree, Ven 
Beila vants to let her tongue have a Httle daily exercise — she 
ain't even got room enough to open her mouth. Veil, 
never mind. How is Herr Friedlander? Ah, I shall never 
enough be grateful to him for paying our vay over here. My 
son would never have 

Miriam. (Gently interrupts) Do you see how happy 
David is with Samuel ? 

Beila. David is pale. 

(Miriam sighs) 

Ephroym. Who does he look like ? 

Miriam. (Troubled) Like my father. He is pale. He 
•is not very strong. I hope father will take him down to the 
•farm for an outing. And you must come to the farm, too. It 
is in Connecticut — oh, far away. 

Ephroym. But does the farm make money ? 

Miriam. Father says it will after a while. But he doesn't 



The Krcutzcr Sonata. 29 

want the farm only to make money, you know. Oh, no ! It's 
partly a charity, for our people who have been worked to 
death in the sweatshops may go down there to get well. 
You'll love the farm. 

Ephroym. Who helps your father — manages — econo- 
mizes ? 

Miriam. Natasha. 

Beila. And Samuel? 

Miriam. He lives in New York. 

Ephroym. Well, Fraulein Celia ? And your mother ? 
{Miriam looks across at Celia) 

Miriam. Natasha is father's only real help. He has aged 
very much. But you'll see him this morning. Yes, he's com- 
ing here. 

Samuel. (To all) So the young man, when he had 
killed the dragon, was elected to be President eighteen times 
Iby five millions majority, and reigned happily for a hundred 
and three years, and more, too. 

David. Tell me another story ! 

Gregor. (To David) It's time for your lesson, my young 
— hero. 

David. Oh ! Not yet ! 

Miriam. Come to me, David. 

(David goes to Miriam) 

Samuel. (Samuel smiles and nods to David. Speaks to 
Gregor) I'm going to smoke one of your cigarettes, Gregor. 
(Gregor nods. Samuel exits, R.) 

Beila. He looks so unhappy. 

David. I am unhappy when father 

Miriam. (Gently hushes him. To Beila) And all this 
while you have told me nothing about Krementschug. Does 
it all look the same ? Do the people- 

David. Now, mother, you'll cry ! 

Miriam. No, indeed ! 

David. (To Beila) When mother talks about Russia she 
gets frightened and cries — just the way I do when father 
gives me my music lesson. 

Miriam. Know your lesson, and then you won't need 
to cry. 

David. He frightens me so I forget everything. (Short 



30 The Kreutser Sonata. 

pause) Grandpa, in Russia, when people get angry, do they 
always shout " Officer " at you ? 

Ephroym. " Officer " ? 

David. And " aristocrat " ? Oh, but mother, he does ! 
You know he does ! 

Miriam. Compose yourself, dear. It's time now. for your 
lesson. 

David. Some day when I am a great man I am going 
to be a great musician, and play before kings and people, 
and 

Miriam. Hush, dear ! 

David. And — when I am — {Sees Gregor and shrinks 
suddenly) — Oh ! 

Miriam. There, dear, take your violin and go. 

Gregor. Come along, my young — (He frames his mouth 
to say "officer," hut changes the word) — my little puppy. 
{David crosses slowly and exits slowly, L.) 

Miriam. {To Gregor) It's my fault, Gregor, that he 
doesn't know his lesson to-day. He was looking so ill I told 
him not to practice. 

Gregor. {Aside to Celia) Alone — later ! 

{Exit Gregor, L. Miriam looks troubled) 

Miriam. {To Ephroym and Beila) Oh, I forgot to tell 
you, father has sent us some Russian tea. 

Ephroym. Aha ! 

Beila. Good ! 

Miriam. {To Beila and Ephroym) Would you not like a 
glass of it now? 

Beila. Too glad. 

Ephroym. Vy not? 

Miriam. We'll have some, then. 

Miriam. Come, Celia ; come into the dining-room. 

{Exit Beila and Ephroym, R., followed hy Celia. Miriam 
looks anxiously towards Gregor' s room, L., and exits. 
Empty stage. The voice of Gregor is heard off L., and violin 
practice. Re-enter Miriam, R. She crosses to L., shows her 
fear. Pauses near door. Sound of violin. She listens and 
heats time with her finger. Shows hy her expression and 
gesture that she considers David is playing correctly) 

Gregor. {Voice off L.) Oh, tempo — tempo — you puppy 
— you dunce! {Violin ceases, Miriam looks frightened) Go 



The Krciifaer Sonata. 31 

on ! Go on ! One, two, three, four — one, two, three, four ! 
Can't you count four quarters, you dirty little blockhead? 
Ofifker ! — (Violin stops) — well ? well ? — play — go on ! What's 
the matter ? Curse you ! (Sound of a scuffle) 

David. (Voice off L.) Oh, father, father, don't strike 
me ! 

Gregor. Officer ! 

Miriam. My God! My God! He struck him! He's 
beating him ! (Struggles -with herself; turns as if to exit 
and interfere) No, no, I must not. He'd be furious — next 
time he'd beat him more cruelly. Oh, I can't listen to it ! 
Oh, my poor miserable child ! 

(Door opens, L.) 

David. Don't strike me ! 

Gregor. Get out, you blockhead of an officer, or I'll 

(David enters up L.; still holds the violin. His hair is 
disordered. His eyes red with crying. He comes in slowly 
and looks dazed. Door shuts. He breathes very fast) 

David. ( With his back to door, L., he bends his head, as 
if expecting a blow) Oh, please, please 

Miriam. David ! 

(David sees her for the first time) 

David. Mother ! 

(David falls into her arms) 

Miriam. Hush, hush. Don't cry ! Don't cry ! 

David. Mother, when father strikes me I get all dizzy. 
(Enter Gregor, L.) 

Miriam. (Releases David) Yes, dear ! Hush ! 

Gregor. Why do you stop kissing him? 

Miriam. When I show my love for him it wounds you. I 
don't wish to wound you. You must realize that, by now. 
David, bathe your face, and go to your grandfather. 
(Exit David, R.) 

Gregor. His gpandfather ! Ha, ha, ha ! 

Miriam. (Feigns not to hear) Gregor ! One thing I 
beg of you, don't strike him again. It ruins the child; it 
makes his life miserable. (Passes her hand across her brow) 

Gregor. It does ruin, eh? Pray, who put that ridiculous 
idea into your head? That officer of yours? (He walks 
up and down) Strike him ! Do you suppose I go in there 
determined to strike him ? No. I say to myself : " Now, I 



32 The Kreutzer Sonata. , 

won't beat him ! I'm patient enough with my other pupils ; 
I'll be patient with him." And then when I see him standing 
there — Oh, well — enough said ! I'll not teach the boy at 
all ! I'll pay that German fellow over there to teach him. 
So that settles it. Miriam, do you hear me? Miriam, do 
you hear? 

Miriam. Yes, I hear, and I'm grateful to you. 

Gregor. You're not angry, then ? 

Miriam. What right have I to be angry ? 

Gregor. No woman has any right to be angry. She has 
the right to be good and to love. So, if you're not out of 
•temper, give me a kiss. Come here. Sit down here near me. 
{Both sit) Yes, what did I want to ask you? Other women 
are not so miserly with their kisses — at least, not where I am 
"concerned. Well? {She kisses him) I suppose lots of men 
would envy me. Their envy is my pleasure. {He kisses her. 
Throws her off, not violently) Your lips are as cold as stone. 
Come, come, now — when you kissed him 

Miriam. Gregor ! 

Gregor. Oh, I'm not jealous, but I'll wager your lips 
glowed and burned then — didn't they ? 

Miriam. I don't know. 

Gregor. What did he say to you after he kissed you ? 

Miriam. Gregor ! 

Gregor. Oh, I'm calm ! Did he tell you he loved you? 

Miriam. Yes. 

Gregor. {Excitedly) He did? {Controls himself) Tell 
me, do you ever compare him with me ? 

Miriam. No. 

Gregor. You do, you must ! 

Miriam. Why speak of him ? The man is dead. 

Gregor. Not so dead that you don't recall his kisses. 
Oh ! You remember him 

Miriam. I will not lie. I have not forgotten him. 

Gregor. I knew it. And as long as you live you'll recall 
the hour and the moment when he first loved you. I know 
why you have not forgotten him. 

Miriam. I have not forgotten him because I loved him. 

Gregor. You loved him ! You love him still ! Strumpet ! 
{He slaps her face. Miriam is down, R. She seizes bronze 
statuette on piano) 



The Kreutser Sonata. 33 

Miriam. Oh ! You have struck me again ! (Raises 
statuette over her head and quickly advances on Gregor. 
Gregor gives way shrinkingly. She suddenly drops her arm. 
Her look changes to contempt) No, I must not. (Replaces 
statuette) 

Gregor. Ha, ha, ha ! I laugh because you — you really 
terrified me ! On my soul, you looked like your father. Well, 
it's all over ? Eh ? Come, come, I didn't strike you. I 
meant it for love. I didn't hurt you. You shall return it. 
(Seizes her hands and strikes his own face with them) See ! 
See! (Miriam sits in chair, belozv table, L.) And I love 
you all the more, all the more, for your anger. I love you 
all the more. 

(Door bell rings. Kisses her hands and then her cheek 
passionately. Door bell rings again. David enters, R.) 

Gregor. (To David) What's the matter, you blockhead ? 

David. (Points to door) The door bell. (Goes up to 
door, back, and opens it. Raphael's voice is heard, oif. 
Speaking to Natasha) It's grandpa. (Enter Raphael, back) 

Raphael. Well, well, David. Where's your mother? 
Ah, here you are ! (Miriam goes to Raphael) 

Miriam. Father ! 

Raphael. Miriam, my Miriam. Heigh ! What bright 
eyes ! And what rosy cheeks ! (He holds her a little oif 
from 'him and scans her face) 

Miriam. Bright eyes and red cheeks — yes. 

Raphael. Well, Gregor, how are you? (Gregor replies 
with an indifferent gesture) Not very glad to see me ? Well, 
here's something to bribe you to be glad. (Gives Gregor box 
of cigars) 

Miriam. What have you brought for David, father ? 

Raphael. (Coldly) For David? I forgot. Here — buy 
something with this. (Gives David some coins) 

Miriam. Is mother well? 

Raphael. Yes, yes. 

Miriam. And Natasha? 

Raphael. Natasha came up with me. (He goes to door, 
back, and opens it. Calls off) Natasha! 

Natasha. (Voice off) Coming, barin. 

(Natasha enters, a bunch of wild ffowers in her hand. 
Crosses to Miriam. Miriam comes forward) 



34 The Kreiitzer Sonata. 

Miriam. Nania ! {They embrace) Naiiia ! 

Natasha. These are for you, my dove. 

Miriam: Dear nania ! 

Natasha. American wild flowers. Oh, God shows his 
face, even in America. (Miriam takes them) 

Miriam. (To David) Here, David, take these and put 
them in water for mother, hke a dear boy. 

(David takes flowers and exits, R.) 

Natasha. Dear love, dear lamb ! 

Miriam. Nania, tell me, did you find the book — the one I 
asked you to look for ? You remember, Tolstoi's " Kreutzer 
Sonata" — with his picture and letter inside? (Natasha 
shakes her head) You couldn't find it ? (Short pause) I'm 
so glad to see you. Nania, nania, don't ever stop loving me ! 

Raphael. Eh, what's all that nonsense ? 

Miriam. I'm asking Natasha about the farm. 

Gregor. I'd like to hear how the farm is getting on, too. 

Raphael. All Natasha will tell you is that she's going to 
leave the farm. Yes, she's homesick. Homesick for Kre- 
mentschug. And your mother's homesick for Broadway. 
And Celia, she's homesick for God knows what ! The opera 
and black silk stockings. (Sits) She's in New York half of 
each week. So this morning I told her once for all she must 
stay at home and look after things for me. I propose to be 
obeyed, even in America. 

Miriam. But father, Celia — (Short pause) — she had 
some business in town — at least, there was something impor- 
tant that made her disobey you. Yes, she's here now. 

Raphael. Here ? Now ? 

Miriam. Please don't say anything. Perhaps it won't 
happen again. She'll go back in the train with you. Dear, 
■little father, promise you won't scold her ! 

Raphael. If she promises to remain and do my will, I 
won't scold her. So there! (Affectionate bus. Aside to 
Miriam) Speak to Natasha and talk her out of her scheme 
of leaving me. Without her God knows what will happen, 

Miriam ! And now, didn't some one say (Natasha 

opens door, R. Voices off) Oh, Ephroym ! Ah, there they 
are! (Enter Ephroym, Beila, Samuel, R.) Well, well, well ! 

Ephroym. How's de old man ? 

Raphael. Splendid, splendid ! 



The Kreutcer Sonata. 35 

Beila. Does me good to see you ! 

(General hearty bus.) 
Raphael. And how does America suit you ? 
Samuel. I've been talking to him hke a father in there 
and telling him what he must do. And what I tell him is 
•that America's the land of the young. The President is only 
twenty-two years old, and I know seven hundred young 
fellars of fifteen that are multi-millionaires. 

Raphael. Be quiet! Well, what about America? 
{Miriam and Natasha quiet bus. of talking together on 
sofa, up stage. Enter Celia, R.; quickly crosses L.) 

Ephroym. America ! They say it is a pig country. And 
I say the same. It is a pig country— too pig for me ! 
Raphael. Eh? Eh? 

Ephroym. Dey say it is a free country. How is it free? 
Dey have a President and police, and dey have a labor union. 
Ver, den, is de freedom? 

Raphael. You can go where you like. 
Ephroym. I can't play where I like. Me, Ephroym, vot 
have played violin for forty years— me— I must play before a 
committee of the labor union. Nu, vot you tink to dat ? 

Beila. All his life he never hoid of such tings, and now 
it's union ! 

Ephroym. Vait, let me tell you. First. I must ask for 
a permit to allow me to fiddle, and ven dey already let me 
fiddle, I must play for dem joost to show that I can fiddle ; and 
if I can fiddle, I must give dem one hundred dollars, so dey 
shall let me fiddle, and if den already dey finally let me 
fiddle, I must first stand in line, and take my turn to fiddle. 
But maybe I am hungry and can't wait. Or maybe I ain't 
got the hundred dollars ! So den I go and fiddle for some- 
body ! I fiddle — and along comes a man and says : " I am an 
alligator ! " I says : " What are you? " He says : " A valk- 
ing alHgator ! " 

Beila. Delegator ! 
Raphael. A walking delegate. 

Ephroym. A walking alligator, or delegator — he. may be 
the president in disguise. Whatever he is, he says to me, 
•" You git," and I says, " Who are you ? " and he says : " Aw, 
hell, don't you know me ? I'm the Czar of the country. I'm 
the Bureaucracy. I'm all there is." And if I keep on fiddling. 



36 The Kreutser Sonata. 

.what happens ? He calls the police, and they say to me ; 
" You're a scab ! See ? And if you fiddle here we'll mob 
{you ! " Ah, Fader in Heaven, in Russia, whoever wants to 
make music, he makes music ! Ah, you laugh, but listen 
here. I have heard dem union fellers play. Music ? Hah ! 
Dey play a half tone lower and don't know it. Der was 
Tavel Woronik, played de cymbals by me, in de band, and 
here he plays 'cello ! Nu ! Nu ! And der is von of der 
musicians who tinks he is de whole bunch. Von day I says 
to him : " Brother, vot is septimo accord ? " " Septimo ac- 
cord," he says, " is if you will be a scab ve will kick you 
out of de union, and send you scooting to de fader of 
scabs, who is de devil." Nu ! Ain't dat hot talk ? 

Gregor. Much you know about septimo accord. Here in 
America if the people want unions they must have unions. 

Ephroym. Dat is easy to say on a full stomach. Vy do 
dey let you play? Dey always squeeze de fellers whose 
stomach was empty. Let dem squeeze dem big, dem 
strong fellers whose stomach vas full. {Gregor laughs 
scornfully) And, besides, dey don't know music from trolley 
cars. Did you ever already hear an American sing? Vot 
does he sing? Dollar, dollar, dollar! Oh, laugh, laugh I 
But souls of good musicians, vot do dey play? Who is de 
great American componist? Veil, I tell you den. He is 
jde componist vat you hear played everyvere. He composes 
all de bum melodies. And even he is not an American. I 
don't know vat he is. He is an Irishman or a German. And 
ven I hear de melodies dat man has written I vish I vas in 
Russia mid my neck broke, and my house on fire mid Cos- 
sacks cursing me ! 

Raphael. Stop, stop ! What's his name ? 

Ephroym. De name of dot bum composer? His name is 
Coon. 

Raphael. Coon ? 

Gregor. Coon ? 

Ephroym. Coon — dat writes de coon songs ! {Laughter) 

Gregor. Oh, go join the union. Be an American. Ad- 
vertise yourself. 

Celia. Rent a handsome apartment like this. 

Gregor. And charge your pupils five dollars an hour. 

Celia. Yes, but he'll have to learn English. 



The Kreiitzer Sonata. > 37 

Raphael. Be quiet ! No one asked you for your ideas ! 

(Celia rises and goes up, in anger) 

Gregor. No matter what you do it won't do any good. 
You compare yourself with me? I'm no fiddler — I'm an 
artist. And, besides, here in America a fellow must have 
brains. He must know how to make his way, as I have — 
leader of a quartette, first violin in the Symphony — you have 
to have brains in this country. 

{Raphael turns to Ephroym. Gregor crosses to Celia, 
'leans over her, and they talk. Natasha observes them. 
Raphael gives one hundred dollars to Ephroym, but hides it 
in giving) 

Raphael. (Aside to Ephroym) You say it costs one 
hundred dollars ? There ! Hush ! 

Ephroym. I owe you already so much ! 

Raphael. Nothing. 

Miriam. Gregor, is it not time for your new pupil ? 

Gregor. Yes, yes; he'll be coming. 

Miriam. (To Raphael and Beila) Shall we go into the 
dining-room ? 

(General movement) 

Ephroym. Yes, and have a leetle something — vat is de 
name de Americans call it ? — a — a pye-ball ? 
(Miriam opens door, R.) 

Beila. He tinks if he drinks enough American drinks hi 
von't be a greenhorn. 

Ephroym. (As he exits) Dat's all right ! 
(Exit Ephroym and Beila) 

Samuel. As soon as a greenhorn can say " Dat's all 
right " and " Pooty as a pictoor " he thinks he's more Ameri- 
can than an Irish policeman. 

Raphael. Samuel ! 

(Samuel turns. Raphael makes a gesture. Samuel sees 
Raphael wishes him to remain) 

Celia. (Aside to Gregor) If I stay he'll storm. I am 
going. 

Miriam. Come, father. 

Raphael. I will join you in a moment. 

(Exit Miriam, R.) 

Celia. ( To Gregor, crossing) I tell you I won't wait a 
moment. If I do (Sees Raphael) 



38 The Kreutser Sonata. 

Raphael. Well, mistress, do you mean to take the next 
train back to the farm ? 

Celia. {Pettishly) Oh! Oh! (Natasha comes down, 
Gregpr quietly exit^ R.) 

Natasha. I'll go back with you, Fraulein Celia. And, 
oh, if you'd only all come down there and stay 

Samuel. Stay? In that wilderness? Me? Why, I 
am seven hundred times better ofif here than I am on the 
farm. Here I'm a man ; there I'm a hen or a hayseed. Fine 
business for me to be planting potatoes. 

Raphael. To leave her father and mother, as you have 
done! Celia is more dutiful than you. (To Celia) If you 
wait till four o'clock, Celia, we'll go down together. 

Celia. I am not going back. 

Raphael. Eh? What? 

Natasha. Love of Heaven ! 

Samuel. Good for you, Celia ! 

Celia. I'm gbing to live here in New York. I can't 
stand it down there — it bores me to death. 

Natasha. (To Raphael) Barin ! 

Raphael. I will not beg her to stay. (Looks at Samuel) 
And as for him 

Samuel. Say what you like, but as an agent for sewing 
machines I make 

Raphael. Money ! ^oney ! Money ! 

Samuel. And what I make is my own. If I only sell two 
machines a week it's thirty-nine dollars — not thirty-nine pota- 
toes in the ground, but good green money to spend as I like. 
What's the use of talking ? Money is the stuff, and I make it. 

Raphael. (To Celia) And you? What sort of pro- 
fession will you follow? (Celia shrugs her shoulders) 
Listen ! I don't command you — I don't exact obedience — I 
don't say " Honor thy father," for obedience and honor in 
this country are all smoke. What I do say is this : I need 
you sorely. Very good, I will pay you wages, just as if you 
were a stranger under my roof. 

Celia. I can't stand it. It's a desert. No people. No, 
no, no ! Here in New York one can be well dressed and gay 
and go out on the street. 

Samuel. Exactly. 

Raphael. Fancy waists and gloves can be worn there just 



The Krcut::er Sonata. 39 

as well as here. Your mother wears a veil whenever she 
steps out of the house. 

Celia. I mean to teach music. Why, my gracious, people 
who don't know with which finger to strike do and which re, 
even they make money, and I am a pianist. 

Samuel. {Interrupts) Good for you ! 

Raphael. So you intend to go around banging do and re 
in New York. Mademoiselle, you will go home. 

Celia. Don't shout at me ! I won't have it ! This is not 
Russia. 

Raphael. Oh ! 

Celia. Yes, this is a free country, and the sooner you get 
used 

Raphael. Permit me to bow to my daughter. You hear, I 
speak in a low, polite voice. I honor you, I obey. 

Celia. Nonsense ! 

Raphael. You'll go home with me — four o'clock, mis- 
tress ! 

Celia. It's a free country, and I won't go ! 

Raphael. And I say 

Celia. I won't stay to be screamed at ! 
{Exit Celia, L.) 

Natasha. Oh, boze moi ! 

Raphael. You heard her, Natasha? This is not Russia. 
Respect for father and mother — that obtains in Russia. Fam- 
ily honor — in Russia. Order, obedience, love — in Russia. 
The fear of God — in Russia. 

Samuel. Look here, father, now let's try to be reason- 
lable. Why do you want to stay on the farm? With your 
capital in New York, there are nine hundred thousand mil- 
lion billion things you could do — and more, too — see? 

Raphael. I did not come here to make money through 
.speculation. I bought a farm, and I said : " Here I will 
work." And there I will work till I die. I shall go my own 
way. {Enter Miriam, R.) As for Celia 

Miriam. What's wrong? 

Raphael. That my daughters — that my daughters should 
— {To Miriam) — yes, you, too. No. I don't want to speak 
to you ! 

Miriam. Father ! 

{Exit Raphael, R.) 



40 The Kreutser Sonata. 

Samuel. It's all stuff, you know. He thinks he's in 
Krementschug. Oh, well, there's no use talking. Onions 
will grow whether he likes them or not. He ain't an Ameri- 
can — that's what's biting him so hard. 
{Exit Samuel, R.) 

Natasha. Miriam, Celia says she won't go back to the 
farm. 

Miriam. Poor father ! 

Natasha. Yes, but — why should she care so much to be 
here ? You haven't — haven't seen anything ? 

Miriam. Seen anything? 

Natasha. There must be some reason — and — of course — 
well, you must have seen. 

Miriam. Seen what, nania ? 

Natasha. . Oh, my dear lamb ! A good woman has no 
eyes for evil. 

Miriam. Evil ? 

Natasha. I saw them — as they stood there. Their 
glances told the story. Base moi — a sister ! 

Miriam. You imagined it, nania. 

Natasha. Watch them ! Your father should be told. 

Miriam. No, no ! He has enough misfortune of his own. 

Natasha. It wouldn't be a misfortune — separated, accord- 
ing to Jewish law. 

Miriam. (After a pause) No, nania! It would only 
bring disgrace and suffering upon him. Father has one com- 
fort, one joy — he thinks I am happy. Must I rob him of that 
one comfort? And my child has a father — he knows nothing 
— need never know. Gregor has done what he promised me. 
He has told no one. Not even his parents know that the 
child is not his. Oh, my dear nania, a scandal — a vile Ameri- 
can divorce suit — no, no — I couldn't! And father — ^you 
know what sacrifices he has made to cover up my disgrace? 
And if I was divorced I should be a new burden on his shoul- 
ders. 

Natasha. You'd marry again — 

Miriam. Oh, no, nania, I couldn't marry again. 

Natasha. Oh, you'd find a better man 

Miriam. Oh, no, no ! How can one ? First to have a 
'lover, then a husband, and then to abandon that husband for 
another, just as the gypsies trade horses. No, nania, I must 



The Kreutzer Sonata. 41 

suffer, endure, and be silent. That's what I promised to do. 
Nania, such is the world — a whole life of pain is the price 
you pay for a moment's joy. Yes, you smile and are happy. 
You love and hope — you feel as if Heaven was within you, 
and after that nothing at all but tears and more tears. ,{Bus.) 
Oh, nania, if I didn't have you to talk to and cry to — what 
should I do, nania, what should I do? 

Natasha. My dear one ! 

Gregor's voice. {Indistinctly, off L.) Be careful ! Some 
one's there ! 

{Miriam dries her eyes, speaks in haste and fear of being 
seen in tears) 

Miriam. They are coming. 

{Exit Miriam, L. Natasha crosses R. to near piano, 
i^nter Gregor, L. He comes in, looking hack over his 
shoulder at CeUa. Stands at door) 

Gregor. Oh, Natasha, you're there alone? Where's 
Miriam? Go in to the company— they need you! {Natasha 
exits, R., shaking her head disapprovingly. Celia enters, R. 
He embraces her) You must not leave me. We've scarcely 
had a moment alone ! {He kisses her. He speaks in a low 
voice) You won't go away, will you ? 

Celia. Do you think I will ? {She holds up her face. He 
kisses her) 

Gregor. Don't ever go. Stay here. Never mind them 

Celia. {Laughs) Oh, they ! They can all stand on their 
heads. What do I care, so I have— you? {He tries to kiss 
her; she avoids him. Louder) Do you like me ? 
{Re-enter Miriam, L.) 

Gregor. I'm crazy about you ! 

Celia. {Louder) Do I kiss you as clumsily as that dear 
wife of yours, eh? {Miriam hears this, and turns, not too 
quickly, handkerchief in hand; as she turns Gregor embraces 
Celia, and kisses her. Celia pretends to hold him off. Miriam 
sees them) Poor Miriam ! She doesn't know how an artist 
wants to be loved. {Gregor kisses her) I know. There, 
don't kiss me again {She pushes him away) 

Miriam. {Calmly, fluently) So, you are here, Gregor— 
and Celia, you! {When Miriam speaks they are not in a 
close embrace. Celia starts at Miriam's voice and faces 
away from her. Gregor remains perfectly motionless) 



42 The Kreutser Sonata. 

Gregor. Yes, Miriam, we — eh — Celia was going. She 
gave me a kiss for good-bye. 

Celia. (In a tranquil, even tone) Yes, a kiss for good- 
bye. Shall we join the others before they leave? 

Gregor. Of course, yes. {Gregor crosses R., opens door 
and waits for Celia) 

Miriam. You go, Gregor. I've a question to ask Celia. 

(Celia stops, L. Gregor frozvns, looks worried and exits, 
R. Pause) 

Celia. You have a question to ask me? Well? 

Miriam. Are you going home with father ? 

Celia. No. 

Miriam. Celia, it's dreadful for father to be there alone. 

Celia. I can't live always for father. I have my own 
life. I want to be free. 

Miriam. Free? It isn't free to conceal things. (Celia 
throws her head up, but does not look at Miriam) You love 
my husband. 

(Celia faces Miriam) 

Celia. What? 

Miriam. Yes, you love my husband. Well, we'll call 
[father and Gregor in, and we'll talk the thing over so as to 
avoid scandal and disgrace. (Miriam movement toward 
door) 

Celia. Who told you I loved your husband? (Miriam 
stops) It's nothing more than — as a sister. 

Miriam,. Oh, don't imagine I'm blind. I saw before. I 
see now. Oh, you needn't be afraid. I shall bear you no 
ill-will. But, of course, as it is so, he must divorce me. If 
you were a stranger, and he loved you, I should not stand in 
his way, much less for a sister. But, naturally, everything 
must be honorable and open. (Celia moves and frowns in 
anger and fear) We can't behave like women of the town ! 

Celia. (Rapidly, without break) Women of the town ! 
What honorable right did you have to your lover? And 
whose child is that in there ? Of course, Gregor told me — 
.long ago ! (Short pause) So, after all, you concealed 
things ! I couldn't imagine why everybody hated the child — 
and why I, too 

Miriam. (Interrupts) I don't accuse you of loving my 
child. I accuse you of loving my husband. 



The Kreutser Sonata. 43 

Celia. Well, you are not in a position to preach morality 
to me. 

Miriam. Celiaj I simply will not permit such a vile 
scandal — two sisters, the daughters of Raphael Friedlander. 
No, no ! If you don't mean to marry my husband in honor, 
openly, and to let me step aside, then you must go home at 
once with father and your relations with Gregor end there. 
{Miriam moves to door, R.) 

Celia. Since you will have it — I won't go, then! (Celia 
crosses, L.) 

Miriam. Then he must divorce me at once. (Miriam 
calls off R.) Father! 

Celia. What are you doing ? No — no ! 

Miriam. It must end now! (Calls oif R.) Are you 
coming, father? 

Celia. (Goes C, alarmed) No, no, Miriam, no! 

Miriam. You say "no"! (Celia nods yes) Give me 
your word, then — swear that you'll go ! Swear it's all over 
between you ! (Pause. Celia gasps. Opens her mouth to 
speak and does not speak — turns this way and that — trem- 
bles) No? (Voices oif R.) Here they are ! 

(Re-enter Raphael and goes C. Re-enter Natasha and 
re-enter Gregor, looking afraid) 

Raphael. (To Miriam) You called me? (Short pause; 
looks from Celia to Miriam) What's the matter? 

Gregor. (Uneasily) Sisters will quarrel. 

Natasha. (In a low voice) Sisters? God in Heaven ! 

Raphael. What's happened between you two ? 

Miriam. (Calmly) Well, Celia? 

Celia. ■ (Aloud) Yes ! 

Raphael. What? What? 

Gregor. What's all this ? 

Miriam. What's all this? (Smiles) Nothing. Celia is 
going home with father — yes — home to the farm. 
(curtain) 



ACT III. 

Scene: Living-room of Friedlander' s farm-house in Con- 
necticut. Window and door to porch, R. Staircase C. 
leading to second story. Wide recessed window L. C. 
Door L. 2 E. Large -fireplace L. i E. Hat rack beside 
door L. Tables, chairs, etc. Piano. Winter backing. 
Snow falls outside. It is late in the evening of Christ- 
mas, the same year. Curtain on Natasha and Miriam. 
Miriam is sitting on the Hoor up L. — a dozen books are 
beside her. She opens and looks through several, gazes 
into fire. Natasha is at table, L., standing. In her hand 
she has a large brass .cup, which she polishes with a 
cloth. Short pause after curtain is up. 

Natasha. What do you find that's good to read, in all that 
litter of books, my lamb? {Miriam is lost in a book, and 
makes no reply) They've been in the attic ever since your 
father came down here to live on the farm. Well, God be 
praised, it is Christmas ! They say that at home Christmas 
comes twelve days later. I wonder why? Are the Ameri- 
cans always in such a hurry? Do you remember Christmas 
in Krementschug, child dear? Snow — just like this! — but 
more, and whiter, — yes, the snow in Russia is whiter, it falls 
quietly, too — it takes its time to fall. This American snow 
is just like everything else in America. Hurrying and flurry- 
ing! Well, what's in the books. {Scornfully) Words, I'll 
warrant ! 

Miriam. These books remind me of the old, lost, happy 
days, when there was no memory of yesterday, and no care 
for tomorrow ! There was nothing but today, and dreams. 
{Sighs. Natasha looks up, rises, and crosses to Miriam) 

Natasha. My darling, how does he treat you now? {Sits) 

Miriam. As usual — two days of peace, and two weeks of 
war. Nania, oh, I have become hardened to it. I never think 
of it, except {Gazes straight out to audience) every now and 
then, when I'm afraid that everything I've endured may be 
useless. I mean that David and my father may both in the 



The Kreutzer Sonata. 45 

end have to suffer. (Natasha shakes her head tn sympathy) 
I have had such strange feeUngs lately. I go to bed so un- 
happy I could cry, and next morning I wake up in a sort of 
unnatural happiness. (Passes her hand lightly across brow) 
I laugh at just nothing. 

Natasha. What harm in that, my dear lamb, if things are 
all right? 

Miriam. (Interrupts) Yes, things are better. He seems 
never to see Celia now, and you see how happy father has 
been all this week. 

Natasha. The barin is happy because he dreams that this 
celebration to-day and the gifts he's making every one will 
bring the family together. Celia's coming back here has 
pleased him, and Gregor's consenting to stay the week out 
with you. Then, your mother lately has not talked of leaving 
him. The barin hopes that by being more American and 
what with gifts, and good cheer, he can bind Fraulein Celia 
and your mother, to remain here on the farm — and God knows 
he needs help and encouragement ! Things are going badly 
for him. No money ! Well, I must be getting the things 
ready for the celebration ! 

Miriam. Nania, where is David? 

Natasha. Your brother took David skating. (Looks at 
clock) They'll be here shortly. And so will the barin. He 
told me he'd be back from the village before Ephroym and 
Bella got here. (Moves) 

Miriam. Their train is not in yet. 

Natasha. Are they coming for any special reason ? 

Miriam. (Nods assent and smiles) Ephroym is founding 
a conservatory of music, and I suppose he's coming to. beg a 
little from father. 

Natasha. Ah, jny dear lamb, you can't drink from a dry 
brook. (Moves) 

Miriam. Oh ! here it is ! 

Natasha. What book is that? 

Miriam. Nania, who tied it with a white cord? You 
did! 

Natasha. Yes, I did. (Pretends to be in haste) Oh, see 
the time ! (Exit Natasha, L.) 

Miriam^ (Crosses R. and sits near table, undoes cord) 
No one has opened the book since that day. (Opens book) 



46 The Kreutser Sonata. 

His picture ! His last letter ! They must be in it. Here they 
are ! (Miriam looks back to see no one is coming) I'll 
read it once and then destroy it forever. It's all crumpled and 
tear-stained — (Looks to see no one is coming) " Miriam, my 
darling, when you read these words I shall be no more. I 
have no alternative. Between you and me there is a wall. A 
wall at which human beings have labored for a thousand 
years. They have built it in madness, and against its stones 
human lives dash themselves to pieces, — a wall of enmity and 
hatred — a wall of race-prejudice — built with scorn, cemented 
in blood. I am too weak to break through this wall and find 
you and happiness on the further side. I must die. You, 
Miriam, you are stronger than I. Live ! I implore you to live. 
You will suffer — but, oh, remember me ! I grasp my revolver, 
and my last words are : Miriam, Miriam, I love you ! You are 
mine to eternity. I cannot be yours in life — I am yours in 
death!" (Breaks down and sobs hysterically) Why did 
it have to be? Oh, his picture — his dear face! (Stops sud- 
denly as she is about to kiss the picture) No, I must not 
It is not honest — not honest to Gregor. I belong to him 
No. 

( Gregor appears on stairs back, very spruce, stops in com- 
ing down, sees Miriam, peers over at her. Then runs silently 
downstairs, and comes lightly and swiftly down C.) 

Gregor. Hello ! 

Miriam. (Starts) Oh ! 

Gregor. Upon my soul, it's the first time I ever saw you 
frightened ! 

Miriam. Oh ! 

Gregor. What's that? 

Miriam. A letter. 

Gregor. Some man's. When did you get it? 

Miriam. No, no, you don't understand. (Gregor ap- 
proaches to seize it) 

Gregor. When I've read it I'll understand. 

Miriam. The letter — and this picture — they've both lain 
in this book for eight years. I have not seen them for eight 
years. It was written by the man who is dead. 

Gregor. By him ! By that beast ! (Approaches her) 
(Tears letter and picture frofn. her hand) It's the face of a 
dirty scoundrel. 



The Kreutser Sonata. 47 

Miriam. I don't care if you abuse him. 

Gregor. Oh, you care for nothing, eh ? ( Tears picture in 
tivo and throws it down) 

Miriam. I meant to destroy it. 

Gregor. (Sarcastically) Did you? And this is his 
writing, eh? (Unfolds letter) 

Miriam. Gregor, that letter was written to me. It's not 
for you to read. I don't read your letters. 

Gregor. You have no right to open my letters. But a 
faithful wife has- no secrets from her husband. 

Miriam. I might ask you, should a faithful husband have 
secrets from his wife? But all I say is, there are no secrets 
in that letter. I have hidden nothing from you. He who 
wrote it, is dead, and when I first received it, he — (Miriam 
turns slightly from Gregor) was even then not in our world, — 
our vile, base, miserable world. (Gregor begins to read let- 
ter) No, no ! (Miriam advances upon him) You, with 
your wicked, your unclean thoughts, — (Holds out- her hand) 
Give me that letter ! 

(He suHenders letter involuntarily. He does not shrink 
from her, hut his absence of movement, and his eyes, express 
positive fear. Miriam, goes R., crushes letter in her hand. 
Pauses and swiftly bending down, hums letter at candle) 

Gregor. Ha ! — well — ha, ha, ha ! When you do the grand 
manner, my very knees knock together, don't they? Eh? 
What? Ha, ha! (Sound of distant sleigh hells) 

Miriam. (Watches letter) Ashes! 

Gregor. So you've burned it? And I shan't ever know 
what he said to you ! Well, I'll tell you what you are, you're 
a — you're a — (Sleigh bells suddenly much louder) 

Miriam. Father's coming. (Enter Natasha, L., with 
things, white cloth, etc.) 

Natasha. Does the young gentleman wish some tea ? 

Gregor. I don't want your tea. (To MiHam) The mat- 
ter with you is that here, what with old books and memories, 
you're becoming Russianized. (Miriam gestures) Oh, you're 
very brave in your father's house. But I won't stay here 
another moment. (Looks at watch) We can catch the last 
train. 

Miriam. Gregor, must I go too ? 

Gregor. There's a bright question ! Do you think I will 



48 The Kreutzer Sonata. 

let you remain here? If you want to stay, stay — and never 
come back ! 

Miriam. We shan't have time to pack, but they can send 
our things after us. {To Natasha) His coat and hat, and 
my cloak, Natasha. {Natasha chirrups her disappointment. 
Goes R., gets cloak for Miriam. Helps Miriam on with cloak') 
You must call David, Natasha ! 

Natasha. Lord love us ! 

Miriam. You are slow, Natasha. His coat and hat,. 
Natasha, dtdiV, {Natasha crosses L.)and call David, Natasha I 

Natasha. Ah, God's goodness ! {Exit Natasha L.) 

Gregor. So you'll know after this I don't stand any 
fooling. When I say "Go" it's go! Where's Celia? Con- 
found her ! She had something or other important to tell me 
— {Re-enter Natasha with coat and hat L.) and, now, I 
shan't hear it just because you — I don't care, I will go. 
Damn the coat ! 

Miriam. Don't you want it ? 

Gregor. Certainly I want it ! {Miriam helps him on 
with coat. To Miriam) Clumsy ! And all I say is, — 
{Raphael and Celia and John appear off hack, seen first 
through the large window, then after disappearing, Ihfough 
the small window down R. as they mount the steps to enter 
R. They are in furs, snozv-covered, John in the customary- 
New England rig of a hired man. He is a red-faced, jolly, 
strong looking man of twenty) There's your father and 
Celia now ! 

Miriam. We ought to go at once, Gregor, The sleigh's 
there. 

Gregor. Exactly ! And you've timed it all nicely, haven't 
you? So that I shall appear in a sweet, pretty light to your 
father. But I won't stay. I'm going. 

{Raphael enters R. Flurry of snow and wind. Enter 
Celia, follozved by John. They are all carrying packages) 

Raphael. Here we are! {Speaks off) Don't forget to 
blanket the horses. 

John. Phew ! {Stamps his feet) 

Raphael. What a cold wind ! Here, Miriam, lend a hand. 

Miriam. Yes, father. {To Gregor) Gregor, we must be 
going. {John takes packages and cloak from Celia down R.) 

Gregor. All right ! 



The Krentzer Sonata. 49 

Raphael. Going where? {Celia looks anxiously at 
Gregor) 

Celia. I know — she's taking him back to New York. 

Raphael. (To Gregor) What sort of trick are you play- 
ing me? You know how much I expect from our all being 
together on this day? 

Gregor. We — we really must — we — 

Miriam. Dear little father, it was merely a whim of mine 
to have Gregor take me out in the sleigh — in the snow — just 
for five minutes. 

Raphael. Oh, well, take your sleigh ride to-morrow. 

Gregor. Yes, put it off till to-morrow, Miriam. It was a 
crazy idea of yours, anyway ! (Kisses Miriam's hand, aside 
to Miriam) Clever! (Celia looks angered by this) 

Miriam. Natasha, take these things ! 

Celia. Gregor ! 

Gregor. Yes, yes, in a minute! 

Celia. (In a low voice to Gregor) I must speak to you. 
(Gregor follows Miriam and pays Celia no attention) 

Raphael. Call your mother, Celia. Ephroym and Bella 
will be here in no time. Where's the boy ? Everybody come ! 
(Gregor takes Miriam's arm in his hands, pushes up her 
sleeve and kisses it) 

Gregor. (To Miriam) What a wise little devil you can 
be! 

Miriam. (To Raphael) I'll be down in a moment, father ! 

(Exit Miriam, stairs back) 

Celia. (To Gregor) Do you think that's the sort of thing 
I enjoy seeing? 

Gregor. (Laughs) I don't care what you enjoy. (He is 
about to go) 

Celia. Gregor ! (He pauses) I must see you alone. 
I've something to tell you — it's very important. 

Gregor. To-morrow ! 

Celia. Listen ! I shall go back to New York. 

Gregor. Back to New York ? 

Celia. To-morrow ! 

Gregor. What are you talking about, when you know he's 
making all this fuss for you and your mother, to keep you 
here ! And besides, you've promised to stay. You'll get into 
trouble. 



50 The Kreutser Sonata. 

Celia. Come here ! {Beckons him to come closer) 

Gregor. No, I won't ! {Exit upstairs. Celia stamps 
her foot and nearly cries, then sits) 

Raphael. There ! All's ready now ! {Enter Rebecca 
downstairs hack) Where's Celia?- {Sees her) Oh, you sit, 
while I work for you? Oh, well, this is America. I'll pre- 
tend I don't see you ! ( To Rebecca) Rebecca, I've a sur- 
prise for you. 

Rebecca. Oh, indeed ! Is it a milking stool, or a pitch- 
fork? {Gregor smiles and hides his smile) 

Raphael. I have bought you an opera cloak ! 

Rebecca. I don't see how you can afford it. 

Raphael. Natasha ! ( Gives Natasha gold crucifix and 
chain) 

Natasha. Oh, barin, it's far too fine for me ! Oh, it's a 
lovely crucifix ! {Makes him a little curtesy, kisses crucifix 
and hangs it around her neck) May the Mother of God bless 
you, barin ! 

Raphael. Celia ! Shall I approach on bended knee to give 
you your gift? 

Celia. {Wearily — rises) No, father. {Raphael clasps 
bracelet on her wrist- — a gesture of admiration from Gregor) 

Raphael. There ! 

Celia. Thanks. {Heavily) It's very pretty. 

{Enter Sam and David, R. David wears a rough cap, 
gloves, and coat, such as a farmer's boy would wear. They 
carry their skates. Flurry of snow as they enter) 

Samuel and David. Here we are ! Here we are ! Phew ! 
— cold, my ! 

Samuel. Gee whiz^ but we skated ! I fell about seven hun- 
dred thousand times, and every time I fell I saw eighty mil- 
lion stars — I did ! Eighty million to a star ! And I don't 
know how many moons I saw ! 

John. Bunches o' moons ! {Laughs. Samuel helps David 
with his coat, etc.) 

David. I fell only once. 

Samuel. If it hadn't been for the wind I could have given 
one shove and gone clear to Brooklyn. 

John. If you tell any more o' them whoppers you'll go 
clear to — {whistles) 

Raphael. {To David) And now, young man, I've some- 



The Kreiitcer Sonata. 51 

thing for you ! (Gives David a Russian fur cap and a Rus- 
sian boy's blouse. Natasha bus. with these. All gather about 
the table. Natasha puts the cap and blouse on David. 
Raphael takes Samuel by the arm and is seen giving him 
something. Celia looks crossly at David. Rebecca looks 
indifferent. Samuel pleased. David is rosy with exercise. 
John takes his and Sam's skates and dries them, cmd hangs 
them R.) 

Natasha. Doesn't he look a little Russian !. 

Raphael. Just as soon as Ephroym and Beila come we'll 
have some veranuche and then music, and singing. Natasha, 
do you remember how to make veranuche? 

Natasha. Well, barin, — 

Raphael. (Interrupts) You've forgotten. Instead of 
water you fill the samovar with red wine, and when it boils 
(Bus. packages) throw in licorice, cloves, almonds, salt and — 
but I won't trust you. Here — take these. We'll go make it 
together. (Exit Raphael L. and exit Natasha L. Sam takes 
David on his back and plays horse) 

Rebecca. (To Celia) Oh, he's losing his mind! All this 
Russian childishness ! Where am I to wear an opera cloak? 
I suppose, when at five o'clock I hear the sweet bass and 
treble of the pigs, when John feeds them ! I have a great 
mind to pack up and go to New York. 

Samuel. You're a Russian arch-duke, see? And I'm three 
horses and a sleigh. (Points to John) He's the wolves. 
(Sam prances by John. John "miaous.") Oh, say, John, 
you're not cats. You're wolves. 

John. Well, I'm varmints — will that do? (Sam prances 
by John. John makes a sound of a bellowing nature. David 
shrieks — bus., etc.) 

Samuel. (To David) This game's too rough — I'll tell you, 
you saddle me, and we'll ride to Russia. (David nods. He 
looks grave) 

David. To Russia ? How far away is Russia ? 

Samuel. Thirty-eight thousand miles to a dot. But here's 
the horse for your money. I'm worth forty thousand dollars. 
I can gallop a mile in seventeen minutes, or slower yet. 

David. Ready ! 

(Exit John, R.) 



52 The Kreiitser Sonata. 

Samuel. (Aside to Celia) Doesn't he look like a little 
somebody or other ? Eh ? Regular little aristocrat ! 

Celia. Ignoramus ! Of course he looks like an aristo- 
crat. 

Samuel. I don't see why. 

(Enter Miriam back) 

Celia. You don't see anything. Whose son is he? 

Samuel. Whose son is he? Are you getting soft up 
there ? 

(Miriam enters and pauses on stairs back) 

Celia. Soft? Ha, you're soft. But we'll see if you love 
him so much — when you know whose son he is ! (David 
takes Sam's hand and pulls him to make him come) Haven't 
you guessed it — that he's Captain Belusoff's son? Ah, now 
you're struck dumb ! Well, you think it over, and you'll un- 
derstand. (Sam releases himself from David and moves 
away) 

Samuel. Is that true? I never dreamed — (Looks at 
David. David stands wonderingly . Sam, suddenly crosses 
to him, and lifts him up in his arms and kisses him) What's 
the difference? A child is a child, and I don't care. (Takes 
David up to sofa) 

Rebecca. (To Celia, with a knowing look) Ahem ! Celia, 
help me lay the table. 

Miriam. Just a moment, mother. Celia ! (Celia crosses 
to Miriam C.) 

Miriam. (In a low voice) What are you saying ? What 
are you doing? 

Celia. Saying and doing nothing. 

Miriam. Why do you hate the child? 

Celia. I don't hate him. 

Miriam. Why do you say those things before; him? 

Celia. It's no secret. Everybody 

Miriam. (Interrupts) Yes, I've always known that if 
ever you knew it, everybody would. 

Celia. (Mockingly) And would you like to know why I 
tell everyone? Simply because I wish every one to know 
just how you once behaved — so that, in case anything ever 
happens to me, at least they won't point me out as the first in 
our family — to — (Laughs) to get her own gait. 



The Kreutzer Sonata. 53 

Miriam. Your laughter is even more shameful than your 
words. 

Celia. Oh, don't glare at me ! You can't frighten me. 

Miriam. There may come a time when I will frighten 
you, — I hope not, I hope not. 

{Enter Raphael, L.) 

Celia. (Under her breath) Father! 

Raphael. What's wrong with you two? 

Miriam. It's my fault, father. I — I lost my temper about 
a mere nothing. 

Raphael. None of your tempers, Miriam. This is Christ- 
mas night. 

Miriam. Yes, dear father. 

Raphael. Listen ! 

Samuel. It m.ust be Ephroym ! 

(Raphael goes up. Sam crosses R. to door. Natasha 
enters L. Rebecca rises and looks out window, back. Celia 
goes up to table R. David stands before the Are. Looks into 
■hre. Pays no heed to the others. Miriam goes L. quickly, 
eagerly. She leans dozvn and leads David to the easy chair 
above -fireplace. She sits to take him on her lap. He shakes 
his head, looks in fire. Miriam puts her arm round him, and 
covers him with kisses. He kisses her. He continues to 
stand. She takes his hand and plays witK it with extreme 
and unsatisfied tenderness. He gazes in fire as before. This 
bus. continues through Ephroym's and Beila's entrance. 
Natasha goes C.) 

Saw,uel. Here they are ! (Sleigh-bells louder and stop. 
Enter John, and stands in doorway, Hurry of snow) 

John. Here they come, all-a-kitin' ! 

Rebecca. Shut that door ! 

Raphael. No, no 

(Ephroym and Beila appear back through window, etc.) 

John. (Bellowing) Come in, come in ! You'll be snowed 
under ! 

(Enter Ephroym and Beila, very snowy and muMed up 
beyond recognition. John slams door) 

Raphael. Welcome, welcome, my friends ! 

(Natasha undoes Beila's wraps. John undoes Ephroym 
and in undoing him whirls him, but not rudely) 

Natasha. Heavenly mother ! 



54 The Krcntzcr Sonata. 

John. There ye are, Dutchy ! I'll swan to succotash thet 
you don't know yourself from a blizzard I 

Raphael. How are you, Ephroym? 

John. Speak up! 

Ephroym. Can't speak — cold — stiff lips ! 

(John roars — Raphael shakes a finger at him) 

John. (Mocking Ephroym) Can't speak — cold — stiff 
lips ! Some nice young gal had ought to kiss him ! Ha, ha, 
ha ! (Natasha turns John about in a tzvinkle and he goes to 
door R.) 

Raphael. (To Natasha) Xo. no ! He must enjoy himself. 
\\'e"re all one family to-day. 

(Rebecca bus. to Celia of irritation and contempt) 

Beila. Dat varm heat is so goot ! Abend, Miriam! 
Abend, Celia ! 

Ephroym. It vass never so cold in Russia ! It is velcome 
to see you! (Waves Miriam L.) How d'ye do, Miriam? 
All, all, — everybody. How dy do? 

(Sound of distant sleigh-bells) 

Raphael. Now, Natasha, bring in the veranuche. Sam- 
uel, open that bottle of rum ! Sit down all ! (Raphael, 
Rebecca, Celia, Ephroym, Beila, Sa)n, John, all prepare to 
sit) 

Raphael. Well, Ephroym, how goes it? I'll wager you 
need twent\-five dollars to buy your release from the Union. 

Beila. Vot do you talk? He has become a reg'lar dyed- 
in-de-vool Union man. You ought to see him excite himself — 
talk about " constitootion, constribootion, organization, 
smorganization," — and ven a new member comes, he kicks. 

Raphael. Would you believe it? 

Ephroym. Vy not? Ve must organize our constitootion 
mid delegations of proletarians to contribute contributions of 
— but you are a capitalist; you do not understand. But I've 
got a new idea — I vant to talk business mid you. I vant to 
open a consoivatory of music in Houston Street — something 
first-class, fine — to be called (Enter Gregor on stairs) " De- 
Krementschug Consoivatory of Music of New York." Ahem ! 
Here comes Gregor. He don't like de idea. 

Gregor. (To Raphael) Father, have a cigar? (Ephroym 
holds out his hand) What do you want a cigar for? You 
don't know Havana from hay. 



The Kreutcer Soiiafa. 55 

Raphael. Your cigars are not strong enough for me. 
I'd rather smoke my pipe. Ephroym, perhaps you would like 
it. (Gives Ephroym cigar and lights his pipe) And now 
for some music. Gregor. play something. 

Gregor. Let David play. He is really talented. Come 
here, David, Grandpa wants to hear you play. (Pause) 
Well ? 

David. Mother, dear, I'm so tired with skating. 
Samuel. Of course he is. We skated not less t-han one 

hundred and forty-six and a half 

Gregor. {Interrupts) Come, David, play 

David. Please not ! 

Gregor. What do you call this, Miriam? I don't like it. 
David. Mother, I'm so sleepy ! I'd a great deal rather 
sleep than play. 

(Sleigh-bells off) 
Samuel. Here, here, come to me ! I'll tell you a story. 
(David crosses to Santmel. (Sleigh bells louder) Hello! 
What's that? 

John. (Goes to the window) That's the Christmas 
sleighing party. They've got the choir and the parson \vith 
'em. Goin' to hev a spellin'-bee at Foster's. (Bells a trifle 
louder and voices singing) 

Raphael. Listen ! They're singing. 
Natasha. That's a lovely tvme. 

Raphael. It makes me think of Russia. (Opens door, 
R.) A beautiful night. (Bells and voices louder) 
Rebecca. The snow has stopped. 

Raphael. Come — come and listen. (Raphael, Rebecca, 
and Ephroym exit, folloived by Bella, Gregor, Celia, Samuel, 
Natasha and John, who closes the door. They are seen for 
a moment on the porch through the window, R. Sleigh bells 
and singing contimie through ensuing scene between Miriam 
and David, and Celia and Gregor) 
David. (To Miriam) Mother! 
Miriam. Yes, dear ! 
David. Is Russia very far from here? 
Miriam. Yes, very far ! 
David. Is it a happy land? 

Miriam. Sometimes, dear. i 

David. Mother, let's go back to Russia. 



56 The Kreutser Sonata. 

Miriam. Russia is too far away, dear. 

David. How far? 

Miriam. Oh, very far — far away in the Past ! 

David. If we had seven league boots — 

Miriam. Yes, if we had seven league boots we could go 
everywhere ! 

Dauid. I am going back to Russia tonight — as soon as I 
can get to sleep! Will you come? {She nods yes) Where 
shall we go to first ? Let's go to the place you told me about, 
where your youth and love are buried. 

Miriam. Hush, darling. You must go to bed now. {Exit 
Miriam and David up stairs hack. Song off continues. Celia 
enters R. Gregor is seen through window. Celia calls 
softly) 

Celia. Gregor ! (More excitedly) Gregor ! (Enter 
Gregor R. and shuts door) Before they come back I've got 
something to tell you. (Celia looks anxiously up back and 
again turns to Gregor) 

Gregor. Oh, don't bother me ! I know what you want. 
You want to come and see me in New York. I don't want to 
see you. Just understand — everything is over between us ! 

Celia. (Slowly and significantly) It's too late for that 
sort of talk now ! 

Gregor. (Alarmed) What do you mean ? 

Celia. Can't you guess ? 

Gregor. My God, no — ^impossible ! 

Celia. Gregor, you've got to see me through ! 

Gregor. You've got to see yourself through. You'll 
wiggle- out — you always do I (Enter Natasha and Raphael, 
R. Enter Rebecca) 

Rebecca. Come in. It's too cold for music out there ! 
(Enter Beila and Ephroynij R.) 

Bella. Phew ! What a coldish air ! 

Ephroym. Veil, Herr Friedlander, let me talk over dat 
little business mid you. I am going to morganize dat Kre- 
mentschug Consoivatory of Music of New York. 

Raphael. Miriam, sing us something that will make us 
remember the old days in Russia. Sing that Folkslied you 
used to sing when you were a child. 

Miriam. That was a long time ago. I have forgotten 
how to sing. 



The Kreutzer Sonata. 57 

Ephroym. Oh, you don't need to be bashful mid us be- 
cause ve vass musicians. Joost sing plain, like for plain 
people. {Miriam hesitates) 

Raphael. Once I commanded, now I beg and I beg in 
vain. 

Miriam. If I can only remember the words ! It was a 
prayer. 

{Miriam sings. When she Unishes, she buries her face 
in her hands. Ephroym heaves a sigh of contentment. 
Pause) 

Ephroym. It iss good to be here. 

Raphael. Rebecca, Celia, Miriam — we are all under one 
roof — we are one, we are at unity, in love, obedience, and 
hope, tonight ! 

Rebecca. Now, now, you want us to say we'll live here, 
with you, forever, and ever ! Well, for my part — 

Raphael. {Gasps) One moment ! 

Rebecca. I won't stay ! 

Raphael. Hear me! I am not accustomed to bend, and 
beg alms of obedience from my own family ! But on this day, 
I will, I do. I beg you, my wife — 

Rebecca. Not I ! 

Raphael. I beg you, Celia and Samuel, remain here, un- 
der this roof. I am prepared to — I will not be so severe — 
I will be more American. All I ask is that you make this 
house your home. 

Samuel. Oh, well, father, you know I can't stay here, so 
what's the use ? 

Rebecca. What is the use? If he thinks I mean to stay 
down here, in a desert, and milk cows in an opera cloak. 

Raphael. Be silent! 

Rebecca. I mean to leave you, tomorrow ! 

Raphael. My wife leaves me! Well, Celia, you are my 
one prop now ! I ask you, then — 

Celia. {After a pause and uneasy business) I — I can't 
stay. 

Raphael. You, my youngest? 

Celia. I — I've got to go to New York and stay there some . 
time, too. 

Miriam. You made a promise to me, Celia. 

Celia. What of it? 



58 The Kreutser Sonata. 

Miriam. You mean to break that ? 

Celia. I do. 

Miriam. {Calmly) Have a care. You may go too tar 
with me. 

Samuel. Oh, she wants to go to New York and hang 
about with some man. 

{Celia rises terrified. Raphael looks up suspiciously, 
amazed. Gregor shows his fright. Miriam, calmly and. 
sternly) 

Miriam. Oh, that's just one of his exaggerations, father!! 

Rebecca. It's absurd, and a he. 

Samuel. May I be darned if that's a lie ! I tell you, I saw 
them — 

Raphael. What does he mean? 

Miriam. He saw Celia at the opera, father. There's no' 
sin in that. 

Celia. Oh, well, who cares if it's a sin or not? I go 
where I please, and I do what I like. America is not Russia, 
and New York is not Krementschug. People aren't afraid to- 
sin over here — they go their own way, and if there's a scan- 
dal they don't care. 

Raphael. So, sin and scandal are nothing to you. Youi 
are right ; your place is in New York. Samuel I The sleigh 
and two horses. 

Celia. I can't go now, like this. 

Raphael. You leave my house now, and like this ! 

Celia. There are no trains — 

Raphael. That's not my affair ! What do you care for 
father, family, home ? One place is as good as another. Find 
a home for yourself. 

Rebecca. Are you crazy? 

Raphael. I'm of the old school still, and when my daugh- 
ter throws off her obedience, I throw her to the winds, to the 
streets. Out of my house ! 

Celia. {At door R. appealingly) Gregor! {Gregor turns 
his back on Celia) Oh ! {Exit Celia R.) 

Rebecca. I, too, leave you. {Crosses L.) I go with my 
children. Natasha, my cloak. {Natasha bows slightly amd' 
gets cloaks. {To Raphael) And as for you, you'll learn 
that in America the father of a family is nobody and you'lt 
leave this house and come to us and ask for shelter. 



The Kreutzer Sonata. 59 

Raphael. The shelter I shall ask for, Madam, when I 
leave this house, will be the shelter of the grave. (Rebecca 
adopts a tone of cutting irony) 

Rebecca. No doubt ! And till then, auf wiedersehen ! 
(Exit Rebecca R.) 

Raphael. Apostates ! 

Gregor. (Lightly) Well, father, you can depend on me, 

Raphael. I may need to call upon you. (Quietly. Exit 
Gregor up stairs, back) 

Ephroym. Good night, Raphael. 

Beila. Sleep fast — goodman ! 

(Ephroym and Beila go up, slozvly mount stairs, and 
exeunt. Natasha busies herself zvith the room, preparing it 
for the night) 

Miriam. Father, haven't you anything to say to me? 
(Pause) Shall I sit with you awhile ? 

Raphael. No, Miriam, go — go to bed. 

Miriam goes slowly up. Miriam kissCjS Natasha, they 
both look pityingly at Raphael. Miriam goes • up, back. 
Natasha crosses L., stops at door L.) 

Natasha. Raphael Myseyevitch, I am only a servant in 
the house, but as long as I live, I will never leave you. 

Raphael. Good night, Natasha. 

(Natasha exits L., taking candelabra. Lights half down. 
Short pause. Raphael sighs heavily. Crosses to mantel. 
Takes pipe. Crosses to C, sighs, walks to door R., locks and 
bolts it; returns to table R., and sits; takes candle and lights 
pipe; puifs a few times quickly, then blows out candle. 
Sleigh bells and mixed voices heard singing in distance. 
Enter David, back. He wears his Russian fur cap and fur- 
lined coat, but his throat is bare, and shozvs the collar of his 
night-gown; he has slippers on his feet. .He comes down 
slowly at first. Miriam, near window, turns and sees him. 
She starts. Moves quickly forzvard as if to intercept David, 
then evidently concludes not to do so; shrinks slowly back 
so that the folds of the window-curtain half cover her. As 
she shrinks back, David comes down, does not see Miriam, 
crosses L., takes down his violin from table; comes down 
softly, and sees Raphael) 

David. Is that you. Grandpa ? 



60 The Kreutser Sonata. 

Raphael. (Slowly turns his head) David? (Short 
pause) What are you doing here? 

David. I'm going to Russia ! 

Raphael. To Russia? (The bells and singing gradually 
grow louder and louder) And why do you want to go to 
Russia? 

David. Grandpa, I don't Uke New York ; people beat you, 
and no one loves me here, except mother, and mother's not 
happy here, either. Mother often and often says, that her 
heart's happiness is in the ground in Russia. 

(Miriam gasps and movement. Raphael looks sterner, 
frowns, sits up straight) 
And, I hear people say — perhaps I'd better not. 

Raphael. Go on ! 

David. They say my father is in Russia. 
(Miriam business) 

Raphael. Yes ! 

(David approaches Raphael and lays a hand on his arm) 

David. Let's you and I go to Russia, grandpa. (Miriam 
turns her back to audience) You know, Russia isn't far. 
Mother says that for her it's always j.ust over the next hill. 
Come, grandpa. (David gently pulls Raphael by the hand) 
Let's go, before we fall asleep. I'll play such pleasant music 
and you'll be in Russia in no time ! (Raphael sobs; then sud- 
denly bursts into painful crying. David starts slightly. 
Miriam tttrns) Oh, grandpa ! 

Raphael. Ah, ah, my boy, if I could but take your hand, 
and go with you to Russia, to find my buried happiness! 
(David nestles close to Raphael, but makes no other demon- 
stration) You lost your father there and I lost my children. 
But, David, my son, we should find there only graves covered 
with snow — no loving heart there — and none here, none here ! 
David, my son, you and I, we have no one in the wide world 
who loves us. (Raphael sobs and covers his face. C. between 
them. Miriam comes down) 

Miriam. No one, father ? 

Raphael. (Brokenly) Miriam ! 

Miriam. Oh, my two dearest children ! My own ! My 
beloved, precious, unhappy children ! 

CURTAIN. 



ACT IV. 

Scene: Ephroym's Krementschug Conservatory of Music, 
East Houston Street^ New York. Doors R. and L. 
Door at back, leading to stairtvay to front door. A win- 
dow at hack, L. C. Two pianos, musical instruments, 
etc. Table, chairs. It is evening, November of one year 
later. Curtain on Ephroym and Beila. Ephroym is in 
his shirt sleeves; he has a more American look; Beila 
very tidy. Ephroym is mending a violin on table down 
L. Beila is dusting piano R. 

Beila. Veil, all de game, I disaproof. 

Ephroym. You disaproof dat I am successful ! 

Beila. No, I disaproof of 

Ephroym. You disaproof dat I am successful. Here am 
I — I have bestraddled my ambition ! Now for six months 
I am Director of — {Points to signs; on zvhich is painted 
"Krementschug Conservatory of Music of Nezv York ") 
dere, you see ! Director, leader, componist. I am Meyer- 
beer, Tschaikowsky, Rubinstein ! Dey come, I teach — dey 
pay, ve make money. I tell you. dat for a man mid a 
spetchelty — like me — America vass joost as if made to order. 
And, denn, you object! 

Beila. (In a lower voice, indicating L.) I only object to 
the way Celia carries on. 

Ephroym. Yes, but the Conservatory is depending on 
Fraulein Celia. Her goot English, her pretty dresses, her 
goot technique on de piano — but for dose, I vood long ago 
have played her a tune mid my tongue. Ve must vink at 
her goings-on, and tank de .Creator of de Universe dat He 
has permitted dese American-Anglo-Irish-Saxons to create 
so much vealth for demselves in order dat now His chosen 
people can provide for demselves — mid economy — and live in 
a land flowing mid milk and honey ! 

Beila. She is Raphael's daughter, and he it vas who set 
you up here. Ve owe him a vink or two, no doubt ! But 
I thank God, her mudder lives mid us, as veil as her ! 

Ephroym, Dere is a pupil. 

(Beila opens door back, and looks out) 



62 The Kreutzer Sonata. 

Bella. It's Natasha. {Enter Natasha, door hack. Eph- 
roym nods to her) So goot to see you ! Sit down, 

Natasha. I've been buying all day in the city for David 
and Herr Friedlander. 

Bella. How are dey? 

(Ephroym Unishes business with violin.) 

Natasha. Ah, boje moi ! My heart aches to be in Russia. 

Ephroym. In Russia ? I'd as sooner live in New Jersey. 
I vouldn't go back to Russia if dey made me a grand duke, 
America for me ! America and equality. Oh, vot a pleasure 
it is to be everybody's superior ! 

Natasha. I wish I were in Krementschug ! 

Ephroym. Vy, since I came here de police ain't once 
asked me for my passport. 

Natasha. But that — what is the name — Union? 

Ephroym. Oh, dot Union — dot iss only for de common 
people. Ven I vass common, and nobody, I vass a union 
man, but now I am Professor Randar — director, componist, 
leader of de Hugonot orchestra, named in honor of Meyer- 
beer. Everybody comes to me mid money, and ven dey go 
avay.I have dere money. Over dere in Russia nobody hass 
money. Veil, veil, it is goot to see you. And how iss every- 
ting on de farm, eh ? 

Natasha. (Sighs) Everything's gone wrong on the 
farm. He can't get any labor at all. He hasn't a soul to 
speak to — only "David. Ever since that day last winter, 
when they all left him, 'he will have the boy there — and in- 
deed, Beila, the lad can twist him round his finger ! But he's 
alone and very poor. (Bella bus. of horror) Debts, trou- 
bles ! He's in the city now on some money business. 

Ephroym. And how is Miriam ? 

Bella. She never comes here. We only see Gregor. 

Natasha. Miriam is not well. (Short pause) So Gregor 
comes here? 

Beila. Yes, ever since Fraulein Celia got back from 
Chicago. 

(Gives Natasha a significant look. Natasha sighs) 

Natasha. Where is Celia now? 

Bella. In her own room. (Indicates door L.) She's 
dressing for the opera. Gregor is going to take her there. 
(Natasha shakes her head. Knock on door, back) Per- 



The Kreutzer Sonata. 63 

"haps diss is Gregor now. {Enter Gregor, door hack, in even- 
ing dress. He carries some roses wrapped in tissue paper) 
Joost look at him ! A regeler sport ! 

Gregor. Natasha? Is Celia dressed? Oh, never mind, 

I'll see in a moment. {Looks at watch) The curtain rises in 

half an hour — I must hear the overture. {To Natasha) 

. Beila. And vere will Miriam join you? At the Opera 

House ? 

Gregor. Why should she join us? Celia and I are 
artists. We must be seen at the opera. {Knocks at door of 
room L.) It's Gregor. I have some roses for you. 

{Exit Gregor L. Beila and Natasha exchange glances) 

Natasha. Oh, boje moi ! That parents should allow a 
girl to carry on that way. 

Ephroym. {Easily) An easy thing to say in America, 
■" don't alloAy dem." If dey vood come and ask me, " Fader, 
•do you allow me?" I vood say " No!" mid a loud voice. But 
vat can you do if de loafers " allow demselves " midout ask- 
ing? 

{Door L. opens and enter Rebecca. She is rather loudly 
and expensively dressed) 

Rebecca. Oh, Natasha! 

Natasha. Barina ! {Rebecca speaks back through door 
L. before she shuts it) 

Rebecca. You'll be late for the overture, you two, unless 
you hurry! {Shuts door and crosses. To Natasha) I wish 
I was going to hear Calve in " Carmen " ! And how is Herr 
Friedlander, Natasha? {Natasha gesture and expression of 
sorrow and unwillingness to say anything) I suppose he 
hates me. Oh, don't worry ! He will become wiser and 
come back, to us. All will be well ! 

Natasha. If God wills. 

{Miriam knocks and enters door C.) 

Beila. Vat iss ? 

Natasha. Miriam. 

Miriam. Am I too late? Have they gone? 

Beila. Gregor? No, he's here still. 

Natasha. What's wrong? 

Miriam. Oh, don't be frightened,. Natasha ! {To Beila) 
Am I unexpected? It's just a matter of business. I have 
to speak to Gregor. Gregor was hardly out of the house 



64 The Kreutzer Sonata. 

when father arrived, with David. Father needs help. Oh, 
nania, you should see David! He's becoming a real little 
farmer ! They're both out on the street. 

Miriam. Father won't come up. 

Rebecca. That's because I'm here ! 

Beila. But, my goodness 

Miriam. He wants to see Gregor alone. {To Beila) 
But where is Gregor? 

Rebecca. Celia is not dressed yet. That is, she's putting 
on her hat. He's just gone in — to tell her — 

{Miriam raps on Celia' s door L.) 

Celia. {Within) Who is it? 

Miriam. It's I, Miriam ! {Miriam crosses C. and waits. 
To Natasha) What a relief they're not gone ! Oh, nania, 
when you see David ! Do you know my headache's all left 
me — and ever since, I feel as light as if I was walking on 
air. {Enter Gregor L. He looks angry, anxious and afraid) 
I'm sorry to trouble you. {Enter Celia L.) 

Gregor. What's the matter? What brought you here? 

{Miriam looks at Gregor and Celia. Pause. Gregor 
falters and moves; tries to remain easy and natural. Celia 
does not meet Miriam's glance; puts on her gloves. Beila 
glances nervously at Ephroym) 

Celia. {Coolly) Is that your new dress, Miriam? It's 
awfully becoming — to you ! 

Gregor. Ah, isn't it? But I tell you it cost something! 
{Moves) But my wife must be dressed comme il faut-^ 
richly and tastefully. I must say, though, when the bill came 
in {brushes speck from her dress) we had a little scene — 
didn't we, Miriam? 

Miriam. Father wishes to see you, Gregor. He's wait- 
ing below on the street. 

Ephroym. {At window. Opens sash) There he is! 
Raphael,- come up I Vy, of course ! {Beila goes to door, 
back, and exits, leaving door open. Natasha moves toward 
door. Ephroym comes down to above C. Gregor goes R. 
and Gregor and Celia exchange glances; he bus. with zvatch. 
Rebecca looks more and more elegantly indifferent. Miriam 
goes to door R.) • 

Beila. {Off) Come up, come up, Herr Friedlander ! 
{Re-enter Beila, door back) Here he comes! {To Eph- 



The Kreutzer Sonata. 65 

roym) Put on your coat! (Ephroym shakes his head. 
Enter Raphael and David, door back. Raphael looks older, 
greyer; he is poorly dressed. David carries a satchel; holds 
Raphael's hand. Miriam, as they enter, takes David gently 
azvay from Raphael and guides him up to Natasha. Natasha 
and David bus. up stage. Miriam accompanies her father 
C. She has a protecting air towards him) Put on your coat 
den ! 

Ephroym. In America, it's all right midout a coat ; ain't 
it, Raphael? • 

Raphael. (Grimly) Oh, in America everyone strips 
naked and isn't ashamed ! 

Ephroym. I mean in America ve vass all equal, eh ? 
Ain't dot so? 

Raphael. Yes, all equal. 

(Raphael helps David off with his overcoat) 

Ephroym. But how are you? 

Belia. It does my heart good to see him ! 

Raphael. (To Beila) Thanks! Thanks! (Looks at 
Rebecca) . And that lady? How does her heart feel? (Re- 
becca goes up, stately, and with an expression of supercilious 
contempt. Raphael follotvs her with his eyes. Miriam looks 
troubled) Hm ! Hm ! 

Miriam. Father, shall I tell Gregor? (He assents; sits 
R.) Gregor, father wishes to know how much money you 
have in bank. You know, I never ask you about money 
matters. 

Beila. For every thousand he has in bank, may I have 
a good year in heaven ! 

Gregor. This is something new. To whom and why, 
pray, must I render an account of my money ? 

Raphael. 1 think I know that tone ! (Sternly) Ha I 
Millionaires, and Raphael Friedlander is compelled to ask 
favors from them. 

David. Grandpa, you promised me you wouldn't get 
angry. Don't you remember? 

Raphael. So I did! (Quietly) It happens, Gregor, 
that I stand in need of a little assistance. (Gregor move- 
ment) I've waited until t;he last minute, hoping this and 
that, and now if I don't deposit the interest on the farm 
mortgage (General slight movement) before twelve o'clock 



66 The Kreutser Sonata. 

to-morrow, the property will be foreclosed, and I shall lose 
everything. (Gregor bus.) You all are aware I'm no great 
hand at asking favors, but, of course, at my age to be 
thrown out on the streets — David suggested we arm our- 
selves, eh David? — and shoot the authorities when they 
come along to dispossess us. (Laughs naturally) 

Celia. (Dryly) Military blood ! 

(Miriam bus. Short pause. Gregor shrugs his shoulders) 

Raphael. I need twelve hundred dollars. 

Gregor. Twelve hundred dollars ! Well, I will tell you 
candidly, even if I had it I wouldn't give it to you. What 
for ? To help you suffer out another year ? My money would 
be lost, and you'd lose the farm twelve months later. That's 
all there would be to it. No, no ! You must learn to be 
practical. 

Raphael. I did not come for advice. 

Gregor. I mean it for your good. 

Raphael. Gregor, if I save the farm by paying this in- 
terest to-morrow I can sell out — sell everything and rescue 
a fair sum. You will have your twelve hundred again, with 
interest. 

(Gregor turns azvay, shakes his head) 

Raphael. (To David) It's your fault, my young diplo- 
mat. I told you. 

David. Wait a moment, grandpa. Nania ! (Natasha, 
surprised, comes down a little) Perhaps you have twelve 
hundred dollars? I give you my word of honor it shall be 
returned to you. 

Natasha. Oh, my darling child! If only I had the 
money ! 

Raphael. And so — 

Gregor. No, not a cent will I give. But there are others 
present. 

Rebecca. Oh, of course, others — ha ! 

Miriam. (Softly) Gregor! 

Gregor. Well? 

Miriam. (Under her breath as if to Gregor only) In 
all these years I have never asked you a favor; but if 
father doesn't get this money — 

Gregor. You attend to your own affairs ! 

Miriam. But it's only a loan. 



The Kreutser Sonata. 67 

Gregor. It's a gift ! 

Miriam. Father gave you once a very large sum. 
{Church hell in distance tolls eight.) 

Gregor. Do you think I should have taken you as you 
were without any money? {Laughs, looks at watch) Come 
along Celia. We shall miss the overture. It is eight o'clock. 
{To Miriam) After the opera, I'll call for you here. {Opens 
door, Celia exits, door back) Au revoir, dear family. Au 
revoir ! {Exit Gregor, following her) 

Raphael. {To Miriam) So that's how matters standi 

Miriam. Mother, mother! You have six hundred dol- 
lars in bank. 

Raphael. I won't borrow from a stranger ! 

Rebecca. No doubt! Ha, ha! It was a good things 
though, that I had the foresight to nip off a dollar or two- 
here and there at the farm. 

Raphael. Come, David, we're going home. 

Miriam. Mother ! 

{Miriam and Rebecca bus.) 

Raphael. If it wasn't for you, my little man, I'd just as- 
soon go where money is neither lent nor borrowed. 

Miriam. Mother dear ! 

Raphael. Come along, boy ! 

Ephroym. If you don't pay dat money to-morrow you: 
lose everything? 

Raphael. {Assents) Come, David I 

Ephroym. A bad business ! 

Miriam. I know you want to give him your money. 
Don't say you don't. Say you will — you can't see him in the- 
^oor house, mother — mother ! 

Ephroym. Stop, stop ! Listen ! I haf five hundred and 
sixty-five in de bank. 

Raphael. Ah, now I see why you're wearing a French: 
beard. 

Ephroym. And Bella has one hundred ! Now — if some- 
body else — 

Miriam. Father — she will, she does — she gives it — lends-, 
it to you, I mean. 

Raphael. From her — not one dollar. 

Miriam. But you don't understand. Mother's given it 
to me, to do what I like with. {Offers Raphael Rebecca's 



68 The Kreutzer Sonata. 

hank book. He does not take it. Ephroym takes it) There! 
There ! It's a gift. 

(Passes her hand across her forehead. Natasha comes 
down R.J looking her happiness; approaches Miriam. Ra- 
phael sinks into chair down L. Ephroym Nourishes bank 
books. Pats Raphael on shottlders) 

David. Grandpa, take the bank books and do business Hke 
a good business man. 

Raphael. Ha, ha ! Do you hear what my old friend says ? 

Ephroym. Ve vill make dose checks out before you 
leave ! 

Raphael. A pauper ! Ephroym, Ephroym, my good 
friend ! 

Ephroym. Not so goot as you to me ! 

{Natasha pats Miriam affectionately, smiles and then 
glances at her, and sees her extremely abstracted look. 
Pause) 

Natasha. (To Miriam) What is it, dear? (Short 
pause) Miriam! What's wrong? 

Miriam. (In a dry voice with unmeaning inflection) 
What's wrong? What is wrong? (Comes to herself; natu- 
rally) What is it Natasha? 

Natasha. You made me afraid. 

Miriam. Oh, nania, nania, I feel, oh, so light, so dry ! 
(Sadly; quietly, almost practically) I wish I could cry ! 
(Leans on Natasha in a zvhisper) Dear, dear nania ! 

Raphael. Where's my list, David ! (Miriam sits in 
chair, down R.) Things to be purchased for the farm : Tur- 
pentine, tarred rope, cough medicine for the sheep, carbolic 
acid — all to be had cheaper in New York. Come along, 
David! (To Beila) We'll be back presently. Now then, 
David, forward, march! (Starts to exit, hack) 

Ephroym. Vait, vait ! I go vid you. 

Raphael. (Stops. Looks at Ephroym) Oh, you fiddler ! 
Upon my word, I need not be ashamed of you ! 

(Embraces Ephroym heartily; thrusts him away, and ex- 
its tvith David, door hack) 

Ephroym. I go, too. (Exit Ephroym, door back) 

Beila. (To Rebecca) I vant a vord alone mid Miriam. 
You take Natasha and start de supper. Ve vill half a good 



The Kreutzer Sonata. 69 

supper, pan-cakes, delicatessen, and some wine. (Rebecca 
goes to door R.) Natasha ! Vill you gif a hand mid — 

Natasha. The supper? To be sure! (Beila comes down. 
To Rebecca) Coming, barina. (Exit Rebecca and Na- 
tasha, R.) 

Beila. IMiriam, listen. I vant to talk about a certain mat- 
ter mid you. (Enter Samuel, door back) Oh, Samuel ! 
Vere do you come from? 

Samuel. I am just back from the Metropolitan Opera 
House. Calve is ill — ^no " Carmen." So I got back my 
money. They've faked me ten thousand times, but not this 
time. There vi^ere over twelve thousand people at the box 
office, forty policemen, an ambulance and a patrol wagon. 
Gee ! such an excitement. 

Miriam. Then " Carmen " is not being sung to-night. 

Samuel. No, it's " Die Meistersinger." You know how I 
love Wagner! Where are the others? In there? (Exit 
Samuel, R.) 

Beila. Now, Miriam, I must talk with you. I know it 
vill hurt you, but dere must be an end to it sometime. 

Miriam. " End " is a sad word. I do not want to think 
of the end. 

Beila. Celia keeps her mother here only to blind the eyes 
of the world. And you don't say nothing. 

Miriam. What should I do ? As long as I can stand it I 
am silent. During the four or five months that she was away 
from New York he conducted himself very decently. 

Beila. Oh, Miriam, if you knew where she was ! 

Miriam. What do you mean ? 

Beila. You fool — she gave birth to a child. 

Miriam. What? No! What are you saying? That's a 
poor joke ! 

Beila. It is not a joke. 

Miriam. I don't understand ! (Moves and stops) 

Beila. Vy do you not understand? Vere do you suppose 
she vass ? Gregor sent her away to the Vest — she gave birth 
to a child; it is living. (Miriam bus.) Dey gave it to a — 
vat iss de name — so shameful, dat dey call dose places? — a — 
foundling asylum ! 

Miriam. Oh ! (Moves and stops) 

Beila. (More and more sharply) Celia rules him; he — 



70 The Kreutzer Sonata. 

he is vax in her hands, and. if you keep quiet. \-y — vy — it 
\"ill go on. it vill happen again. God knows I 

Miriam. I beHeve it is not what you say. How do you 
know? 

Beila. {Lowers her voice) I promised I voodn't say 
nudding. Your mudder told me. 

Miriam. (Pause. SloTi'ly and caltnJy) My mother told 

TOU? 

Beila. Ask her? 

Miriam. Told you ! And she's known all this time. 
{^Laughs a short, rude laugh. Crosses R. rapidly opens door 
i?. Calls oif) Mother, please — just a moment ! {Miriam 
goes C. Beila goes up) 

{Enter Rebecca R. She wears an apron. She enters 
merrily with a smile) 

Rebecca. Xatasha and I are making pan-cakes, Beila, 
and you never saw such a — 

{Sees Miriam and her words die out) 

Miriam. {Interrupts) Mother! Sit down. Tell me, is 
it true? You knew all, and you were silent? 

Rebecca. {Quite humbly) What cotdd I do? ■ 

Miriam. You knew and were silent? 

Rebecca. Yes, yes. I know, iMiriam. In Krementschug 
1 couldn't have condoned it, but over here everything's dif- 
ferent — ^you don't feel ashamed ! 

Miriam. Xo, you are not ashamed, but I am. {Moves) 
I'm ashamed for you ! What a beast I've been to pity myself 
— ^living with Gregor, and all these years my father has lived 
with you I 

Beila. They're coming back. Hush ! 

{Enter Raphael and David back. Raphael carries a bot- 
tle and one or two articles wrapped up in paper. He enters 
cheerfully. Beila offers to take packages. Miriam is down 
R. and when he comes in she faces away from him. Rebecca 
goes down L.) 

Raphael. Here we are again ! Thanks, Beila. Those 
can go anT.'where: but we must be careful of this. It's 
carbolic acid I {Looks about to place it somewhere out of 
reach) Xo shelves, eh? Put it on the mantel, then. David 
won't touch it (Beila puts bottle of carbolic acid on table; 
she places the other packages so that the bottle of carbolic 



The Kreutzer Sonata. 71 

does not stand out too much to the audience. Raphael comes 
down C. Sees Rebecca's expression, and observes Miriam's 
rigid position. To Miriam) What is the matter, Miriam? 
(^Beila and David cross together; she caresses David and 
exits R. David goes up and sits on sofa up R. Opens 
satchel) 

Miriam. Nothing. {Short pause) Mother wants to go 
home with you. {Raphael bus.) She says she's sorry now 
she ever left you. {Rebecca assents with no very great 
grace) When she's away from you she — {Her tone becomes 
stern) — she doesn't li.ve honestly — as people should live. 

Rebecca. {Lightly) Oh, well, we each go our own way. 
{Miriam crosses to Rebecca L.) 

Miriam. No, you shall not go your own way. You shall 
go his way — the way of honest dealing, the way of kindness. 
{Seises Rebecca's hand and pulls her C.) Father — forgive 
her ! She needs you — without you, she's — ( With sudden 
violence) Oh, her heart's foul! What is it, age? age? 
{Tries to force Rebecca to her knees) Down on your knees ! 
Get down ! Get down ! 

{Rebecca is terrified. Raphael interposes) 

Raphael. How dare you, Miriam? {Pause) Your 
mother ! {Raphael takes Rebecca in his arms; he puts an 
arm around her. Pause) Respect — do you hear? 

Miriam. It's nothing. {Laughs hysterically) Ha, ha, 
ha ! {David gazes at Miriam) I don't know what I'm about. 
I forgot who you are, mother! {Goes L. and sits at table. 
Rebecca cries on Raphael's shoulder) 

Rebecca. Raphael, have mercy on me ! Take me away — 
take me home. 

Raphael. What are you crying about, foolish old wife? 
I don't beg you to come home ; if you wish to come — come ! 
{She nods assent, still crying. Warningly) You won't 
find me changed, you know ! and never more unchanged than 
to-day. Happily or not, we always lived together, and God 
knows how much I forgave you because you were the 
mother of Raphael Friedlander's children. 

{Miriam looks at Raphael; David opens satchel and takes 
out revolver) 

Rebecca. {Quietly, imploringly) Raphael! 

Raphael. I shall forgive you. But I have much to for- 



72 The Kreutser Sonata. 

give. You, she, all my obedient children- — between you, 
you've brought me to — look at me ! Pauper ! A good work ! 
(To Miriam) It was begun long ago by my eldest. (Miriam 
starts slightly. David plays with revolver) I say no more. 
(Quickly and hotly) But I'll bear no more f (Moves L.) 
Cursed country! (To David) Put it away; it's loaded. 
(David looks slowly up at Raphael. Raphael tiirns. Miriam 
sees revolver, glances at it, a long glance. David replaces 
revolver in satchel, leaving it open) Not a tie, not a bond, 
but it's loosed here — every good and ancient thing. What in 
our Russia stood like the eternal rocks, Faith, Family, over 
here they thaw — ^yes, thaw, melt and dance away. Dissolu- 
tion ! Chaos ! (Miriam draws quick breaths — watches, suf- 
fering zvith him) All I say is no more ! If I'm to endure 
more scandal, more horror and spitting on. (Miriam bus. of 
suffering) I tell you there'll be a reckoning. 

(Enter Ephroym back. He carries a small basket, comes 
down. Miriam crosses swiftly, R.; pays Ephroym no heed) 

Ephroym,. Here I vass ! And now, Raphael, my old friend, 
hey ? Vat den, scenes and tragedies ? Oi ! Ve must make 
merry. Ve must be glad niit pan-cakes and a lestle of de 
real spirit of life, de real vodka ! (He taps the basket — 
crosses) It vass smuggled, and ve vill smuggle it into us. 
It iss goot dat a man should rejoice mid his stomach, hold 
his friends by der hand, and be conciliated mid everything in 
particular. Eh, boy? Open de door, David! (David opens 
door R. and slowly exits, looking smilingly at Ephroym) 
And come everybody ! (Pats Raphael on the back; smiles) 
Ve vill make an end of trouble ! Oi ! I forgot my delicatessen. 
(To Rebecca — hands her basket and crosses to table) Please! 
(Miriam is at table. Exit Raphael R. Exit Rebecca R. 
Miriam, from Ephroym's entrance, remains in the shocked 
state of tensity and suffering, that her father's last words 
threw her into. Ephroym, crossing, comes face to face with 
Miriam, starts and stops short as he sees her expression) 
Hey? But vat has happened? 

Miriam. I don't know. 

Ephroym. (With kindly solicitude) You are all in thick 
moisture ! 

Miriam. I don't know. 

Ephroym. You are unhappy? 



The Kreutzer Sonata. 73 

Miriam. {Poignantly) Unhappy? 

(Ephroym shakes his head sorrowfully) 

Ephroym. Nu, nu, you must try to be happy. 

Miriam. Only a headache. 

Ephroym. Veil, ve are going to have a good eating and 
drinking, music and relationships. Dat vill cure your head- 
ache, all right. 

Miriam. Yes, yes. I think I'll go out. 

Ephroym. Go out? 

Miriam. Just for a moment to get the air. {Exit door C.) 

Ephroym. Dot vill do you good. {Moves R., stops) 
Perhaps I vill put out der gaz. {Moves to gas fixtures. 
Miriam exits door, hack. Ephroym turns gas out slowly. 
Dark stage) De whole city is full of natural gaz; every 
manhole is a veil of combustion. {Crosses R.) Gaz spouts 
out of de ground like milk from a cow, and yet dey charge 
me whole dollars of money. {Exit Ephroym R.) 

{Immediately re-enter Miriam, swiftly, door back. Bus. 
She throws up sash of window, leans out, then sits close to 
window. Stage dark, except for electric lights of the street 
at back, which shine through window, sharply silhouetting 
Miriam's face. Characteristic sounds and voices; a piano 
organ distantly; children playing; newsboys crying the Jew- 
ish papers, " Vorwarts," " JVarheit," " Tageblatt " ; street car 
hells, etc. The lights and sounds gradually become fainter 
and die out entirely. Intermezzo by orchestra, based on 
the andante movement of " The Kreutzer Sonata." Bell 
of neighboring church tolls eleven as lights hack of window 
slowly steal up again, revealing Miriam in tense attitude of 
waiting, as before. The street is silent now) 
{Enter Samuel, R.) 

Samuel. Why, it's all dark! {Bus. Sees Miriam at 
zvindow) Hello, Miriam that you? If I've told you once I've 
told you seven million times that if you sit all alone in the 
dark you'll get awful unhappy. {Samuel strikes a match and 
lights gas) What's wrong? 

Miriam. Nothing ! 

{Voices of Gregor and Celia off) 

Samuel. Hello ! Who's this ? 

{Enter Gregor and Celia, door back) 

Gregor. Ah ! I knew Miriam would wait for me. 



74 The Kreutser Sonata. 

{Miriam's manner changes as they enter) Didn't I tell you 
she was a model wife? {To Celia, aside) Let go my hand! 
{Aloud) I told her to be here — and here she is ! Let go, 
Celia ! 

Celia. {With a malicious look at Miriam) Why should 
I let it go? It's a very kind hand! {Gregor frowns at Celia. 
She laughs; throws his hand away, crosses near to Miriam. 
Gregor comes dozvn. To Miriam) How's the wife ? Phew ! 

Miriam. {Calmly) Where have you been? At the 
opera ? 

Gregor. Well, what do you think of her ? Where do you 
suppose we have been? Of course, at the opera. 

Miriam. What was sung? "Carmen"? 

Gregor. Another bright question! {Laughs) To be 
sure, " Carmen." 

{Samuel looks up) 

Celia. Ah, how Calve sang! She surpassed herself. 

Miriam. That is a lie; " Carmen " was not the opera, 
Calve did not sing, and you were not there. You are lying. 

Gregor. What do you mean by such a tone? 

Samuel. She's perfectly right. I can furnish you with a 
hundred and fifty-two proofs that "Carmen" was not sung 
to-night. The opera given to-night was " Die Meistersinger." 

Gregor. You're lying, as usual. 

Samuel. Oh, I'm a liar, am I? Well, I may have lied 
now and then, but I never deceived anyone yet. You pretend 
to tell the truth and you deceive everyone. Why, good 
gracious, I was there. 

Gregor. What of it? {Samuel laughs. Miriam goes to 
door down L.) Oh, of course, your word is to be taken 
against mine. 

Samuel. {Takes paper from pocket) Here's the an- 
nouncement ! " Carmen " will not be sung — " Die Meister- 
singer " — I was there — got my money back ! 

{Spreads the paper out and shows it to Gregor. Gregor 
reads. Miriam holds door R. open) 

Miriam. Samuel ! 

{Samuel crosses over R.) 

Samuel. Who's the Uar? {Exit R.) 
{Miriam shuts door R.) 

Celia. Look how frightened he is ! {Comes down) Do 



The Kreutser Sonata. 75 

you call yourself a man? {To Miriam) We were not at 
the opera. What of it? Are we children? Must I give 
an account to you, my dear — tell you where I've been? 

Miriam. You don't have to tell me : I know. 

Celia. (Viciously) Do you? Ha, ha, ha! 

Miriam. I know^and I know you have lied. But it's the 
last lie you will ever tell ; yes, it's the last. 

Gregor. Sh ! your father! {Indicates R.) Listen, 
Miriam. You've always been so good, so sensible. Why, I 
boast to my friends that my wife gives me full freedom. 

Celia. Oh, that's it ! Kiss her and love her right before 
my eyes ! 

Miriam. So you are jealous ! Celia, you promised me to 
give him up. 

Celia. Oh, ^es, I remember. 

Miriam. Oh, you remember. Is that all you have to say 
for yourself? 

Celia. You had a love affair once — free-love, too. Have 
you forgotten it? {Laughs) 

Miriam. I recall my love and my lover. But he was not 
married, and I believed that my child's father would become 
my husband. I have submitted to torture for the sake of my 
child. For his sake I have borne every form of humiliation. 
I have suffered bilently while you scorned me, reviled me, 
sapped my blood — yes, for the sake of my child.- {Celia 
laughs) Have you so soon forgotten yours? 

{Celia shrinks in fear, but still seeks to brazen it out) 

Gregor. Miriam ! 

Miriam. Are you a mother? Where is your child? Go 
suffer for your child as I have suffered for mine. Oh, you 
have made me taste bitter days. 

Gregor. Miriam ? 

Miriam. And you, too ! I know what you think, both of 
you — you think that I shall get over this and you'll live with 
each other again as you're living now — a life of operas and 
songs and secrecy — a life of lies. You think that; but it will 
never be. The end is near. 

Gregor. Hush, Miriam! Be kind, just this once. 

Celia. She thinks she can frighten me. {To Miriam) 
I will do as I please. 

Miriam. You will ? I'm glad you've said that. 



76 The Kreutzer Sonata. 

Gregor. Not so loud. Your father will hear. 

Miriam. Yes, it's for father's sake, too, I've endured it 
all — for his sake and in the hope that David might be spared 
shame and agony. Oh, there's no night but he cries him- 
self to sleep, no night but he dreams you are beating him, or 
else {To Celia) he dreams of your cruel face. 

Celia. A little fool ! 

Gregor. (To Miriam) Dearest, be reasonable. You 
know you're the only woman I care for — ^you are worth 
more than all the rest. Of course, I may be weak or foolish 
now and then, but all men are that. I am no better and no 
worse than the others. Miriam, I'll do anything you like. 
I'll never see her — I'll cast her off — I'lle- 

Celia. You coward. 

Gregor. I love you only, and you are mine — aren't you? 
You are mine. 

Miriam. Yours? Yours? Yes, I'm your chattel. My 
body belongs to you and must belong to you until I die. When 
you want my body, you say you love me; and when you say 
you love me, you want my body. (A gesture and exclamation 
of protest from Gregor) I have lived with you ten years as 
your servant, and no day of that ten years but you have 
trampled and derided me, deceived and betrayed me. Yes, 
and you have struck me. You did not know and did not 
care what I felt, what I suffered. I was silent, and I en- 
dured. But it was not for your sake — it was for his, for his 
— poor little child whom I brought into this vile world. 
Enough ! I'll no longer be humiliated, deceived, betrayed. 
No — no more ! 

Celia. She's been reading " The Kreutzer Sonata " again. 
(Laughs) 

Miriam. Don't laugh. 

Celia. But you are so amusing. Ha, ha, ha ! 

Miriam. Don't laugh. 

Celia. Ha, ha ! What ? Are you angry ? Look at her, 
Gregor, look ! Ha, ha ! 

{Miriam crosses rapidly to mantel on which the bottle of 
carbolic lies) 

Miriam. {Takes bottle of carbolic) Be silent! 

Gregor. {Whose face is hid in his hands) Oh, it's too 
bad. 



The Kreutser Sonata. 77 

Celia. (Sees Miriam's - action, with sudden apprehen- 
sion) Look, look! {To Miriam) What are you doing? 
What is it? 

Miriam. {Rapidly and with evidence of insanity in her 
manner of speaking) What is it? {Crosses) It's fire, to 
burn your face with — 

Celia. It's carbolic ! 

Miriam. {Without pausing) To burn your eyes with — 
{Struggles to uncork bottle) 

Celia. Gregor ! 

Miriam. To kill you with, {Gregor crosses) so you 

shan't be able to lure other men — make them cruel. {Gregor 

tries to take the bottle from her) I'll scar your face, I'll 

blacken your roses, so men will turn from you with loathing 

and disgust — I'll — {Gregor wrests bottle from her) It's God 

— you can't prevent God ! He told me you had gone too far — 

He bade me — 

Gregor. Miriam! Miriam! ) .<-,, , . , ^, . 
^ ,. T., 1 , , y (ii peaking together) 

Celia. Thank heaven ! ) & ^^ J 

Miriam. That will not help you — nothing can help you 
now! {Miriatn seises revolver, Gregor advances toward her, 
shielding Celia, zvho gives way) 

Celia. Take it away from her ! 

{Miriam shoots Gregor as he comes toward her. He 
staggers up stage, gradually sinks down, collapses on edge 
of the sofa and thence to the iioor, where he lies motionless. 
Instantly and while Gregor does this, Miriam fires at Celia, 
who falls at once {not C). Miriam fires remaining three 
shots at her body. Then Miriam turns, still holding the re- 
volver. Short pause. Excited voices outside door R. Enter 
Natasha swiftly, as if she surmised zvhat has happened; ex- 
pression and gesture of horror as she sees Celia's body, but 
no pause or stop. She crosses rapidly to Miriam, who turns 
to her, listlessly dropping the revolver on the iioor. Mean- 
while Raphael has entered door R., immediately after Na- 
tasha. He sweeps the scene with his eyes, grasps the full 
import of the tragedy, utters a half-smothered exclamation of 
grief and horror, quickly turns and closes the door, leaning 
against it, with eyes fixed on Miriam. Voices of Ephroym, 
Beila, David, and the others heard outside door, clamoring to 
know what is the matter) 

LOFC. 



78 The Kreutser Sonata. 

Natasha. {Speaks, •when she reaches Miriam, quietly, in 
a loiv voice) Miriam, my lamb. 

Miriam. Yes, yes, it's done; they are both dead. I'm 
tired. 

Natasha. Oh ! 

Miriam. Oh, nania, I can't rest. My head ! Night and 
day I hear voices. (Her eyes stare) Who's that? (To 
N'atasha) What are you? (Shrinks from her) What is it? 
(Louder) No, no, I don't know. I am sinking. Where are 
you, nania? (Shouts in frenzy) Oh, nania, nania, nania! 

CURTAIN. 



I-, 



^ L^ 



